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diff --git a/43593.txt b/43593.txt deleted file mode 100644 index 5a559cf..0000000 --- a/43593.txt +++ /dev/null @@ -1,21096 +0,0 @@ -The Project Gutenberg EBook of The Life of Ludwig van Beethoven, Volume -III (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 III (of 3) - -Author: Alexander Wheelock Thayer - -Translator: Henry Edward Krehbiel - -Release Date: August 29, 2013 [EBook #43593] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK LIFE OF BEETHOVEN, VOL III *** - - - - -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 III - - - - -[Illustration] - -[Illustration: BEETHOVEN in 1814 - -Engraved by Blasius Hoefel - -After a crayon sketch by Louis Latronne] - - - - - 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 III - - 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 III - - - PAGE - CHAPTER I. The Year 1819--Guardianship of Beethoven's - Nephew Karl--Mother and Uncle in a Legal Struggle--The - Lad's Education--Conversation Books--A Wedding - Song--In Travail with the Mass in D--The - Commission for an Oratorio from the Gesellschaft - der Musikfreunde--Visits from Zelter and Friedrich - Schneider--Creative Work of the Year 1 - - CHAPTER II. End of the Litigation over the Guardianship of - the Nephew--A Costly Victory--E. T. A. Hoffmann--An - Analytical Programme--Beethoven's Financial Troubles--Adagios - and English Hymn-Tunes--Stieler's - Portrait--Arrested as a Vagrant--Negotiations for the - Mass in D begun with Simrock--The Last Pianoforte - Sonatas--Compositions of the Years 1820 and 1821 24 - - CHAPTER III. The Year 1822--The Mass in D--Beethoven - and His Publishers--Simrock--Schlesinger--C. F. - Peters--Phantom Masses--Johann van Beethoven: - His Appearance and Character--Becomes His Brother's - Agent--Meetings with Rochlitz and Rossini--Franz - Schubert--"The Consecration of the House"--Revival - of "Fidelio"--Madame Schroeder-Devrient--The - Bagatelles--A Commission from America 51 - - CHAPTER IV. The Year 1823--The Roman Ritual and - the Mass in D--Subscriptions Asked from Royal - Courts--Incidents of the Appeal--Goethe and Cherubini - Enlisted as Agents--A Medal from the King of - France--Further Negotiations with Publishers and - Societies--Operatic Projects--Consideration of Grillparzer's - "Melusine"--The Diabelli Variations--Summer - Visitors--An Englishman's Story--Weber and Julius - Benedict--Ries and the Ninth Symphony--Franz Liszt - and Beethoven's Kiss 89 - - CHAPTER V. The Year 1824--The Symphony in D - Minor--Its Technical History--The Choral Finale - and Schiller's "Ode to Joy"--First Performance of the - Work and Portions of the Mass--An Address to - Beethoven--Laborious and Protracted Preparations - for the Concert--A Financial Failure--Beethoven's - False Accusations against Friends and Helpers Drive - Them from the Dinner-Table 144 - - CHAPTER VI. Incidents and Labors of the Year 1824--A - Truce with the Hated Sister-in-Law--The Gesellschaft - der Musikfreunde's Oratorio--Bernard's Libretto--The - Society Forgives Beethoven His Debt and - Elects Him an Honorary Member--Book of "The - Victory of the Cross"--Summer Sojourn at Penzing - Interrupted by Curious Visitors--The London Philharmonic - Society Receives the Symphony in D - Minor--Further Negotiations for the Mass--New - Publishers--Probst--Schott and Sons--A Visitor from - London--Beethoven's Opinion of His Predecessors--The - Quartet in E-flat, Op. 127--Trip to England Determined - Upon 170 - - CHAPTER VII. The Year 1825. The Invitation from the - Philharmonic Society of London--The Ninth Symphony - Performed at Aix-la-Chapelle--Mass and Symphony - Delivered to Schott and Sons--Unpleasant Results of an - Attempted Joke on Haslinger--Beethoven and a - Copyist--The String Quartet in E-flat Taken Away - from Schuppanzigh after a First Performance--Karl - Holz--Beethoven Authorizes Him to Write the History - of His Life--Early Biographers--Visits of Rellstab, Kuhlau, - Smart and Others--Sir George Smart's Recollections-- - Dedication of the Mass in D--Stephan von - Breuning--Wegeler asks Beethoven to Defend the Honor - of His Mother--The Quartets in A Minor and B-flat 186 - - CHAPTER VIII. A Year of Sickness and Sorrow--The - Last String Quartets--Wolfmayer Commissions a - "Requiem" and Pays in Advance--Many Works _in - petto_--Controversy with Prince Galitzin and His - Son--The Fugue in the B-flat Quartet--"Muss es - sein?"--Dedication of the Ninth Symphony--The King - of Prussia and His Gift of a Dubious Diamond--Abbe - Stadler--Beethoven Defends Mozart's "Requiem"--Friedrich - Wieck--Beethoven Goes to His Brother's - Summer Home--Life at Gneixendorf--Relations with - His Brother's Family--Young Oxen Thrown into a Panic - Fear--The Quartet in F and a New Finale for the - Quartet in B-flat--The Year 1826--Beethoven's Last - Compositions 218 - - CHAPTER IX. Karl van Beethoven--A Wayward Ward - and an Unwise Guardian--Beethoven and his Graceless - Nephew--An Ill-advised Foster-father--A Profligate - Youth--Effect of the Guardianship on Beethoven's - Character--An Unsuccessful Attempt at Self-destruction-- - Karl is Made a Soldier 247 - - CHAPTER X. The Last Days at Gneixendorf--A Brother's - Warning--Beethoven and His Kinspeople--The Fateful - Journey to Vienna--The Fatal Illness--The Physicians - and Their Treatment--The Nephew Exonerated - from a Slanderous Accusation--Schindler's Disingenuousness-- - Dr. Malfatti Forgets a Resentment Harbored - for more than a Decade--Beethoven and Handel's - Scores--A Gift of 100 Pounds Sterling from the London - Philharmonic Society--Eventual Disposition of the - Money--Metronome Marks for the Ninth Symphony--Death - and Burial of Beethoven--His Estate 267 - - GENERAL INDEX 315 - - INDEX TO COMPOSITIONS 344 - - - - -Chapter I - - The Contest for the Guardianship of Nephew Karl--The Conversation - Books--A Wedding Song--In Travail with the Mass--The Year 1819. - - -The key-note for much that must occupy us in a survey of the year 1819 -is sounded by A New Year's Greeting to Archduke Rudolph. Beethoven -invokes all manner of blessings on the head of his pupil and patron -and, begging a continuance of gracious benevolences for himself, sets -forth a picture of his unhappy plight. - - A terrible occurrence has recently taken place in my family affairs - which for a time robbed me of all my reasoning powers; and to this - must be charged the circumstance that I have not called upon Y. - R. H. in person nor made mention of the masterly Variations of my - highly honored and exalted pupil, the favorite of the Muses. I do - not dare to express either by word of mouth or in writing my thanks - for the surprise and favor with which I have been honored, inasmuch - as I occupy _much too humble_ a position, nor dare I, much as I - would like and ardently as I long to do so, _requite like with - like_. - -A little boy of eleven years runs away from his uncle to his indulgent -mother whom he, for months at a time, has not been allowed to see, -although both live within the same city limits. What else could be -expected than that this should now and then occur? What should be -thought of the child's heart if it did not? And when it did, who but -Beethoven would have felt more than a passing disturbance of his -equanimity at an offense so natural under the circumstances? But to -him it was a "terrible occurrence" which for a space robbed him of his -reason. No one of ordinary sensibilities can read the story without -strong feelings of compassion for him--not that the boy's freak was -in any sense in itself a grievous misfortune, but because the uncle's -sufferings occasioned by it were so real and intense. - -There is no reason to doubt the mother's assertion that she sent -the child back through the intervention of the police, for this was -clearly her best policy, more especially because she and her advisers -found in the incident a wished-for occasion to renew her petition to -have her son admitted into the R. I. Convict. It was this petition, -enforced by Hotschevar's long paper and its accompanying documents, -which had led to the question of Beethoven's right to have his case -tried by the tribunal of the nobility, and the negative decision which -transferred the whole matter to the City Magistracy. At this point a -few official data are wanting, and the suspension of Beethoven from the -guardianship of his nephew can only be stated as having been determined -by the magistrates immediately after the beginning of the new year, -and that, in consequence of this, the boy was for a few weeks with his -mother. On January 10, Fanny Giannatasio writes in her diary: "What -Mueller tells me about Beethoven pains me deeply. The wicked woman has -finally succeeded in triumphing over him. He has been removed from -the guardianship[1] and the wicked son returns to the source of his -wickedness. I can imagine Beethoven's grief. It is said that since -yesterday he has been entirely alone and eats apart from the others. He -ought to know that Karl is glad to be with his mother; it would ease -the pain of the separation." - -[Sidenote: BEETHOVEN'S APPEAL TO THE MAGISTRACY] - -On January 7 the magistrates summoned Beethoven (who still lived in -the Gaertnergasse), the boy, the mother, Hotschevar and the curator, -Dr. Schoenauer, to appear before them on January 11. Of what action was -taken that day there is no record, but Hotschevar's attack brought -out a vigorous defense in the shape of a letter sent by Beethoven -to the Magistracy,[2] in which he maintained the superiority of the -educational plan which he was pursuing over that which had been -proposed by the mother, proclaimed the magnanimity and virtuousness of -all his acts and discharged a broadside of accusation and insinuation -against Madame van Beethoven and the priest who had come to her help. -We can make room for only a few passages: - - His exceptional capacity, and partly also his peculiarities, - call for exceptional measures; and I never did a more beneficial - or magnanimous act than when I took my nephew to myself and - personally assumed charge of his education. Seeing that (according - to Plutarch) a Philip did not think it beneath his dignity to - direct the education of his son Alexander and give him the great - Aristotle for a teacher because he did not consider the ordinary - teachers suitable, and a Laudon looked after the education of - his son _himself_, why should not such beautiful and sublime - examples be followed by others? Already during his lifetime his - father entrusted my nephew to me and I confess that I feel myself - better fitted than anybody else _to incite my nephew to virtue and - industry by my own example_. - - - Had the mother been able to subdue her wicked disposition and - permitted my plans to take their quiet development a very favorable - result would have followed; but when a _mother of this sort_ seeks - to involve her child in the secrets of her own vulgar and evil - surroundings, and in his tender years (a plague for children!!!) - leads aim astray to deception, to bribery of my servants, to - _untruthfulness_, by _laughing at him_ when he tells the truth, - yes, even _giving him money_ to awaken in him lusts and desires - which are harmful, tells him that things are trifles which _in me - and others would be accounted_ grave faults, the already difficult - task becomes more difficult and dangerous. - - Gifts of fortune may be acquired; morality must be _implanted_ - early, particularly when a child has had the misfortune to suck - in such _mother's milk_, was in her care for several years, was - put to thoroughly bad uses, even had to help _deceive_ his father. - Furthermore he will _inherit from me_ and even now I could leave - him enough to _keep him from want_ while continuing his studies - until he should receive an appointment. We need only _quiet and no - more interference_ from the mother, and the beautiful goal which I - have set will be attained. - - Ought I now to reply to the intrigues of a Mr. Courtscrivener - Hotschowa [Hotschevar] against me, or to the _priest of Moedling_, - who is despised by his congregation, who is suspected of being - guilty of _illicit intercourse_, who lays his pupils military - fashion on a form to be thrashed and could not forgive me because I - kept watch on him and would not permit my nephew to be caned like a - _brute_--ought I? No; the association of these men with Madame van - Beethoven _bears witness_ against them both, and _only such_ could - make _common cause_ with Madame van Beethoven _against me_. - -Beethoven accompanied this address with a private letter presumably to -Dr. Tschiska (or Tschischka), an official of the Magistracy, in which -he said: - - I am not a guardian from self-interest, but I want to rear a new - monument to myself in my nephew. I do not need my nephew, but he - needs me. Gossip, calumny, are beneath the dignity of a man who is - raising himself up! What is to be done when they even touch the - laundry!?!? I might be very sensitive, but the just man must be - able to endure injustice without departing an iota from the right. - In this sense I shall endure every trial, nothing shall shake - my resolution. A great responsibility would be incurred were my - nephew to be wholly withdrawn from me; moral and even political - consequences would follow to him. I commend him to you and appeal - to your heart for his welfare. My actions must commend me for his - sake, not mine. - -We do not know the particulars, but for the present Beethoven retained -the right to look after the further education of the boy; the right, at -least, was not judicially taken away from him or given to another. He -did not send him again to a public school, but engaged a private tutor -under whose care he continued his studies in an institute conducted by -Joseph Kudlich, of whom he spoke in great praise. Besides the ordinary -subjects, he received instruction in French, drawing and music; his -religious training was entrusted to a priest. This state of affairs -lasted till the end of March, when he announced a desire to resign the -guardianship--persuaded to take this step, it is fair to presume, by -the magistrates who, in the end, would have been obliged to remove him. -Karl was living with his mother at the time. According to the court -records, Beethoven left the matter of education "entirely to Kudlich," -with whom (if a passage in one of the Conversation Books is read -correctly) he seems also to have lived temporarily, and it was given -to him to propose the name of a guardian, either in place of himself -or as an associate. He consulted earnestly with his friends as to what -was to be done with the boy and who should be his guardian, and those -friends were sorely tried by his constitutional indecision. In these -consultations, the project of sending the boy away from Vienna, and -the name of Sailer, were mooted.[3] "What must be done," Bernard says, -"is to select as guardian a man who has your entire confidence both as -respects morality and pedagogical skill, and with whom you may always -remain on friendly terms concerning the affair. Since Kudlich has more -influence on Karl than Giannatasio, it is my opinion that you seek no -further for someone who would meet every requirement.--It would merely -be very troublesome for you." Beethoven seems to be in doubt; he had a -preference for his friend the magisterial Councillor Tuscher, and the -project of sending him to Sailer in Landshut appealed to him. Bernard -says again: "If you want peace of mind I think it wise that you name a -guardian as you were willing to do yesterday. But if it is possible to -send the boy to Sailer at Landshut,[4] it would, of course, be better -still, since then you could feel assured that he was in the best of -hands. Even if you have Tuscher as co-guardian, your case will not be -bettered, inasmuch as all cares will still rest on you. Perhaps Tuscher -and Kudlich might jointly assume the guardianship--this might be very -advantageous. All the same, everything will remain as heretofore, even -if you send him away he will remain with Kudlich until a change has -been made. So long as you are guardian and Karl remains here, you will -not only have all the cares as heretofore, but also be compelled to -fight the mother and all her intrigues. Have Karl sent for the present -again to Kudlich, meanwhile the matter may be straightened out."[5] - -[Sidenote: A NEW GUARDIAN FOR KARL APPOINTED] - -Beethoven seems to have expressed a doubt as to Tuscher's willingness -to serve as guardian. Bernard continues: "Perhaps he might be more -easily persuaded if a co-guardian like Kudlich were appointed.--It is -not necessary to settle everything by to-morrow. If we go to Omeyer -to-morrow morning, then to Tuscher and Kudlich, we can come to an -understanding as to what will be the best thing to do." Tuscher, if -we are correct in recognizing his handwriting, permitted himself to -be persuaded, though a bit under protest; he foresaw difficulties. -The Magistracy at the suggestion of Beethoven thereupon appointed -the Magisterial Councillor Matthias von Tuscher guardian of the boy -on March 26. He was commanded to place his ward, then "living with -his mother, Johanna van Beethoven," in another place for bringing -up and education under proper care, and submit his opinion touching -the proposition of the mother and Hotschevar that he be entered in a -public institute of learning before the expiration of the second school -semester, that Beethoven contribute to the cost and that the share of -the mother's pension and the interest on the money deposited for the -boy be applied to this end. Tuscher was decidedly of the opinion that -the boy must be sent away for a time and was agreed with the plan of -placing him with Prof. Sailer in Landshut after it had been broached to -him. For this the consent of the Magistracy and the police authorities -and a passport were necessary. In the opinion of one of Beethoven's -advisers (Bach) Tuscher was to be informed of the plan only after the -passport had been obtained, but before the mother, who had already -found "a channel," could take steps to communicate with Tuscher. -Beethoven applied to the city authorities for a passport for two years -for his ward. On April 23, the authorities asked of the Magistracy -if there were any objections to the proposed step. The Magistracy -objected to the boy's being sent into a foreign country, but asked -Tuscher if he were not willing to withdraw his application and name an -institute in Austria. Tuscher declined and set forth the great hopes -which he placed in the training to be had of a man like Sailer, who, -"because of his reverence for the talents of the composer, Beethoven, -was especially bound to him," and hence would bestow upon his charge -the strictest oversight and care, which was of great importance in the -case of a boy who was "extremely cunning and an adept in every sort of -craftiness." In replying to the municipal authorities the Magistracy -(on May 7) conceded the necessity of withdrawing the boy from his -mother's influence, but thought it unnecessary to send him out of the -country on this account, against which the mother had protested and the -curator of the ward, Dr. Schoenauer, had declared himself. The passport -was therefore refused. Beethoven had taken a step which seems to have -been made to prevent the widow from securing help for her plans from -a source higher than any that had yet been invoked and to enlist that -higher power in his own behalf. He appealed to Archduke Rudolph to use -his influence with Archduke Ludwig, the youngest brother of Emperor -Franz I, to aid him in his project of sending his nephew far away from -the mother's influence. In the letter written to the Archduke[6] he -states that it had been his intention to petition Archduke Ludwig in -the premises, but there had thitherto appeared to be no occasion for -so doing for the reason that all the authorities who had jurisdiction -in the matter were convinced of the advisability of the step, viz.: -the Police, the Supervisory Guardianship Court and the guardian. He -had heard, however, that the mother intended to seek an audience of -Archduke Ludwig to prevent the execution of his plan. Convinced that -she would stop at nothing in the way of calumination, he expressed the -hope that his reputation for morality would suffice as a refutation of -her slanders, and that Archduke Rudolph would bear testimony in his -behalf. - -The plan to send the nephew out of the country had been frustrated -and had to be abandoned. His mind being filled with artistic projects -of the greatest magnitude, Beethoven was desirous to pass the summer -months again in Moedling, and after the experiences of the preceding -year nothing could be hoped for his nephew in that quarter. He came -to a realization of the advantages which Giannatasio's institute had -offered and in a letter to Giannatasio asked him again to take the lad -till other arrangements had been made. The Giannatasio family were -fearful lest such a proceeding might work harm to their institution, -and on June 17 visited Beethoven at Moedling to tell him that his wishes -could not be complied with. "Grievously as it pained us," Fanny writes -in her diary, "to refuse Beethoven anything, I am yet so convinced of -the necessity of the step and that it could do us no good, but on the -contrary harm, that I prefer to have it so." Thereupon the lad was -sent to the institute of Joseph Bloechlinger. Claudius Artaria, who was -one of the teachers there (1821-1824), recalled in later years that -Karl was one of the older scholars, "naturally talented, but somewhat -conceited because he was the nephew of Beethoven." He also saw the -mother there a few times, but remembered nothing in particular in -connection with her visits. The lad appears to have prospered during -the early part of his stay at this school. In December, 1819, an -unknown hand writes in a Conversation Book: - - A great deal has been gained in that the boy has again become - orderly in his public studies. Ploechlinger [_sic_] moreover, though - not exactly brilliant, seems to be good--the public school system - acts as a restraint on him.--Your nephew looks well; handsome - eyes--charm, a speaking physiognomy, and excellent bearing. I would - continue his education for only two years more.--He is always - present, and thus she can do him no harm. But he is agreed that she - spoils the boy.--When you have acquired the sole guardianship, then - do you decide and he will obey.--Your views are admirable but not - always reconcilable with this wretched world.--Would that everybody - might understand and appreciate your love for your nephew. - -[Sidenote: TUSCHER RELIEVED OF THE GUARDIANSHIP] - -Tuscher, a member of the Magistracy, was compelled to recognize that -his colleagues were wholly under the influence of Madame van Beethoven -and Hotschevar, and that he could do no service to his friend or his -friend's ward; on July 5, he applied to be relieved of the guardianship -which, he said, had become "in every respect burdensome and vexatious," -on the ground that "the multiplicity of official duties as well as -various other considerations would not permit him longer to administer -the office." Beethoven took this action in very bad part, and Tuscher -shared the fate of many others of being for a space an object of the -composer's critical ill will. Beethoven now served notice on the -Magistracy that he would resume the guardianship under the testamentary -appointment and that he had placed his ward in Bloechlinger's -institution. On July 15 he writes to Archduke Rudolph, lamenting that -confusion still reigns in his domestic affairs, no hope or comfort is -in sight, all his structures are blown away, as if by the wind. "The -present proprietor of the institute in which I have placed my nephew, -a pupil of Pestalozzi, is of the opinion that it will be difficult -to achieve a desirable outcome in the boy's training--and also that -there could be nothing more profitable to my nephew than absence from -the country." In a letter of September 14 to Bloechlinger he writes: -"_Only the following individuals have free access to my nephew, Mr. v. -Bernard, Mr. v. Oliva, Mr. v. Piuk, Recording Secretary.... My nephew -is not to go out of the house without my written permission_--from -which it is plain what course is to be followed toward the mother--I -insist that in this respect _strict obedience_ be given to what the -authorities and I have ordained." - -It is not known whether the Magistracy was immediately informed -of the new steps which Beethoven had taken, or whether Madame van -Beethoven made a presentment of some sort on the subject. Be that as -it may, as chief guardian it determined if possible to put an end -to the continual friction and undertook an investigation of all the -educational experiments which had been made, arriving at the conclusion -that the boy had been "subject to the whims of Beethoven and had been -tossed back and forth like a ball from one educational institution to -another." For this reason it decreed, on September 17, that Tuscher's -request be granted, but that the guardianship should not again be -entrusted to Beethoven but to the mother, the natural guardian under -the law, with a capable and honest man as co-guardian. To this office -Leopold Nussboeck, municipal Sequestrator, was appointed. Beethoven -protested against the action in a letter which the Magistracy received -on October 31.[7] Having been absent from the city at the time, "on -a matter of business," he had made no objection to the appointment -of Herr Nussboeck as guardian of his nephew, but returning with the -intention of remaining in Vienna he wished to resume the guardianship, -as this was essential to the welfare of the boy, the mother having -neither the will nor the strength to look after his training. He was -the more insistent on a resumption of this duty since he had learned -that owing to lack of money the boy was to be removed from the -institution which he had selected for him, and he charged that the -mother wished to take her son to her home so that she might be able -to expend his income, including the half of her pension which she was -obliged to devote to his education, upon herself. He asked that the -intermediary guardianship be taken from Nussboeck and be restored to -him without delay. About the same time (October 23) he wrote at great -length to Dr. Bach, who had now become his lawyer.[8] From this it -appears that Madame van Beethoven had addressed another communication -to the Magistrates' Court, in which she apparently said or intimated -that Beethoven would, in consequence of the elevation of the Archduke -to the Archbishopric, be obliged to spend the greater part of his time -in Olmuetz, and had renewed her attacks upon his moral character. "His -Imperial Highness, Eminence and Cardinal" would unhesitatingly bear -witness to his morality, and, as to the twaddle about Olmuetz, the -Archduke would probably spend not more than six weeks of the year there. - -[Sidenote: BEETHOVEN INSISTS ON SOLE GUARDIANSHIP] - - The chief points are that I be recognized at once as sole guardian, - I will accept no co-guardian, that the mother be excluded from - intercourse with her son in the _Institute_ because in view of - her _immorality_ there cannot be enough watchmen there and she - confuses the teacher by her false statements and lies. She also - has led her son to tell shameful lies and make charges _against - me_, and accuses me herself of having given him too much or too - little; but that the claims of humanity may not be overlooked, she - may see her son occasionally at my home in the presence of his - teachers and other excellent men.... It is my opinion that you - should insist stoutly and irrevocably that I be _sole_ guardian - and that this unnatural mother shall see her son only at _my - house_; my well known humanity and culture are a guarantee that - my treatment of her will be no less generous than that given to - her son. Moreover, I think that all this should be done quickly - and that if possible we ought to get the Appellate Court to assume - the superior guardianship, as I want my nephew to be placed in a - higher category; neither he nor I belong to the Magistracy under - whose guardianship are only innkeepers, shoemakers and tailors. As - regards his present maintenance, it shall be cared for as long as - I live. For the future he has 7,000 florins _W.W._ of which his - mother has the usufruct during life; also 2,000 fl. (or a little - more since I have reinvested it), the interest on which belongs to - _him_, and 4,000 florins in silver of _mine_ are lying in the bank; - as he is to inherit all my property this belongs to his capital. - You will observe that while because of his _great talent_ (to which - the Honorable Magistracy is indifferent) he will not be able at - once to support himself, there is already a superfluity in case of - my death. - -In a postscript he accuses the mother of wishing to gain possession of -her son in order to enjoy all of her pension. In view of this he had -taken counsel as to whether or not he should let her keep the money and -make it good from his own pocket. He had been advised not to do so, -however, because she would make bad use of the money. "I have decided, -therefore, to set aside the sum in time. You see again how foolishly -the Magistracy is acting in trying to tear my son wholly from me, since -when she dies the boy will lose this share of the pension and would get -along _very poorly_ without my aid." A few days later Beethoven wrote -to Dr. Bach again, this time to suggest that legal steps be taken to -attach the widow's pension, he having a suspicion that she was trying -to evade payment of her son's share because she had permitted nine -months to pass without drawing the pension from the exchequer. - -The Magistracy disposed of Beethoven's protest and application on -November 4, by curtly referring him to the disposition made of his -petition of September 17. Beethoven asked for a reconsideration of the -matter, but without avail, and the only recourse remaining to him was -the appeal to the higher court which had already been suggested to Dr. -Bach. The story of that appeal belongs to the year 1820. Meanwhile -the association of Councillor Peters with him in the guardianship had -been broached and was the subject of discussion with his friends. In -December Bernard writes in a Conversation Book: - - The Magistracy has till now only made a minute of the proceedings - and will now hold a session to arrive at a decision. It is already - decided that you shall have the chief guardianship, but a 2d is - to be associated with you. As no objection can be made to Peters, - there will be no difficulty. The matter will be ordered according - to your wishes and I will take care of Mr. Bloechlinger. The mother - will not be admitted to the institute unless you are present, 4 - times a year is enough--nor the guardian either?--The Magistracy - has compromised itself nicely. - -Bach seems to have advised that the mother be accepted as co-guardian. -He writes: "As co-guardian she will have no authority, only the -honor of being associated in the guardianship. She will be a mere -figurehead." Whether the conversations noted at the time referred to -the case on appeal or to the application still pending before the -Magistracy, or some to the one, some to the other, it is impossible to -determine. The record of the refusal of the Magistracy has not been -procured, but the decree of the Appellate Court gives December 20 as -its date. - -[Sidenote: SCHINDLER AND THE CONVERSATION BOOKS] - -Frequent citations from the so-called "Conversation Books" made -in the course of the narrative touching the later phases of the -controversy over the guardianship call for some remarks upon this new -source of information opened in this year. In the "Niederrheinische -Musikzeitung," No. 28 of 1854, Schindler wrote: - - Beethoven's hearing had already become too weak for oral - conversation, even with the help of an ear-trumpet, in 1818, - and recourse had now to be had to writing. Only in the case of - intercourse with Archduke Rudolph, and here because of his gentle - voice, the smallest of the ear-trumpets remained of service for - several years more. - -That he was able, partly by the ear and partly by the eye, to judge of -the correctness of the performance of his music, Schindler states in -the same article--a fact also known from many other sources; this was -the case even to his last year. When, after the death of Beethoven, -such of his manuscripts and papers as were thought to be salable -were set apart, there remained in the hands of von Breuning a lot of -letters, documents and Conversation Books. The estimated value in the -inventory of the manuscripts and the price obtained for them at the -auction sale, indicate how utterly worthless from a pecuniary point -of view that other collection was thought to be; as, however, they -might be of use to some future biographer, it was well to have them -preserved, and doubtless a small gratification to Schindler for his -great sacrifices and very valuable services to Beethoven in these last -months, the only one which he as guardian to the absent nephew could -make; so Breuning gave them to him. The Conversation Books, counting -in as such those which were really nothing but a sheet or two of paper -loosely folded, were only about 400 in number, or less than fifty per -annum for the last eight and a half years of Beethoven's life--that -being the period which they cover. Schindler, who spoke on this as on -so many other topics frankly and without reserve, said that he long -preserved the books and papers intact, but not finding any person -but himself who placed any value upon them, their weight and bulk -had led him in the course of his long unsettled life by degrees to -destroy those which he deemed to be of little or no importance. The -remainder were, in 1845, transferred to the Royal Library in Berlin, -and, in 1855, when they were examined for this work, numbered 138. It -was but natural that those preserved are such as place Schindler's -relation to the master in the strongest light and those deemed by him -essential to the full understanding of the more important events of -Beethoven's last years. Most of them bear evidence of the deep interest -with which Schindler, while they remained in his possession, lived -over the past in them. In many cases he appended the names of the -principal writers; so that one soon learns to distinguish their hands -without difficulty; and occasionally he enriched them with valuable -annotations.[9] The larger of them--ordinary blank note-books--are -only of a size and thickness fitted to be carried in the coat-pocket. -It is obvious, therefore, on a moment's reflection, that at a single -sitting with a few friends in an inn or coffee-house, the pages must -have filled rapidly as the book passed from hand to hand and one or -another wrote question or reply, remark or statement, a bit of news -or a piece of advice. A few such conversations, one sees, would fill -a book, all the sooner as there is no thought of economizing space -and each new sentence is usually also a new paragraph. It strikes -one, therefore, that the whole 400 could have contained but a small -portion of the conversations of the period they covered. This was so. -At home a slate or any loose scraps of paper were commonly used, thus -saving a heavy item of expense; moreover, many who conversed with -Beethoven would only write upon the slate in order to obliterate it -immediately, that nothing should remain exposed to the eyes of others. -The books, therefore, were for the most part for use when the composer -was away from home, although there were occasions when, it being -desirable to preserve what was written, they were also used there. -Hence, the collection in Berlin can be viewed as little more than -scattered specimens of the conversations of the master's friends and -companions, most unequally distributed as to time. For months together -there is nothing or hardly anything; and then again a few days will -fill many scores of leaves. In a few instances Beethoven has himself -written--that is, when in some public place he did not trust his voice; -and memoranda of divers kinds, even of musical ideas from his pen, are -not infrequent. One is surprised to find so few distinguished names in -literature, science and art--Grillparzer's forms an exception and he -appears only in the later years; as for the rest, they are for the most -part of local Vienna celebrities. - -There is no source of information for the biography of Beethoven -which at first sight appears so rich and productive and yet, to the -conscientious writer, proves so provokingly defective and requires such -extreme caution in its use as these Conversation Books. The oldest of -them belongs to the time before us (1819) and was evidently preserved -by Schindler on account of the protracted conversations on the topic of -the nephew. We have already made several citations from it and shall -have frequent occasion to have recourse to it in the progress of this -narrative. The period in which it was used is approximately fixed by a -reference to a concert given by the violinist Franz Clement, at which -he played an introduction and variations on a theme by Beethoven. -This concert took place on April 4, 1819.[10] The last conversations -in the book took place about the time of Beethoven's removal to -Moedling--shortly before and after. - -This explanatory digression may serve as a modulation to more cheerful -themes than that which has occupied us of late. - -[Sidenote: MUSICAL SURPRISE AT A WEDDING] - -Though Karl was no longer a member of the Giannatasio household or -pupil of the institute, and though there were, in consequence, fewer -meetings between Beethoven and his self-sacrificing friends, their -relations remained pleasant, and early in 1819 Beethoven found occasion -to supplement his verbal protestations of gratitude with a deed. Nanni, -the younger daughter of Giannatasio, was married on February 6, 1819, -to Leopold Schmerling. When the young couple returned to the house -after the ceremony they were greeted by a wedding hymn for tenor solo, -men's voices and pianoforte accompaniment. The performers were hidden -in a corner of the room. When they had finished they stepped forth from -their place of concealment. Beethoven was among them and he handed the -manuscript of the music which he had written to words of Prof. Stein, -who occupied a chair of philosophy at the University and was also tutor -in the imperial household,[11] to the bride. - -Beethoven made a single appearance as conductor in this year. It was on -January 17 at a concert given for the benefit of the Widows and Orphans -of the Juridical Faculty of the University. The orchestra was largely -composed of amateurs and the programme began with the overture to -"Prometheus" and ended with the Seventh Symphony. Among the listeners -was P. D. A. Atterbom, the Swedish poet, who wrote a sympathetic -account of it. - -In the midst of the worries occasioned by the guardianship, Beethoven -was elected Honorary Member of the Philharmonic Society of Laibach, -an institution which had been founded in 1702 and revived, after -repeated interruptions, in 1816. The project of giving him the -distinction had been broached in the councils of the society in 1808, -but Anton Schmith, a physician in Vienna, whose opinion had been -asked, had advised against it, saying: "Beethoven is as freakish as -he is unserviceable." Eleven years later the men of Laibach had more -knowledge or better counsel, and they sent him a diploma on March -15 through von Tuscher. Acknowledging the honor on May 4, Beethoven -stated that as a mark of appreciation he was sending, also through -the magistrate, an "unpublished" composition and would hold himself -in readiness to serve the society should it ever need him. There is -no direct evidence as to what composition he had in mind; but in the -archives of the Laibach society there is a manuscript copy of the Sixth -Symphony. It is not an autograph except as to its title, Beethoven -having written "Sinfonia pastorale" on the cover in red crayon, and -corrections in lead pencil in the music.[12] - -The time for Beethoven's annual summer flitting had come. Moedling was -chosen again for the country sojourn and Beethoven arrived there on May -12, taking lodgings as before in the Hafner house in the Hauptstrasse. -He had, evidently, brought a housekeeper with him and now engaged a -housemaid. The former endured two months.[13] Karl was placed under -the tuition of Bloechlinger on June 22. Beethoven, as letters to the -Archduke dated July 15 and August 31[14] show, was not in the best of -health, but was hard at work on the mass, with an excursion now and -then into the symphony (Ninth). Schindler presents us with a pathetic, -impressive, almost terrifying picture of the state to which his labors -lifted him (Ed. of 1860, I, 270): - -[Sidenote: IN A FRENZY OF COMPOSITION] - - Towards the end of August, accompanied by the musician Johann - Horsalka still living in Vienna, I arrived at the master's home in - Moedling. It was 4 o'clock in the afternoon. As soon as we entered - we learned that in the morning both servants had gone away, and - that there had been a quarrel after midnight which had disturbed - all the neighbors, because as a consequence of a long vigil both - had gone to sleep and the food which had been prepared had become - unpalatable. In the living-room, behind a locked door, we heard - the master singing parts of the fugue in the _Credo_--singing, - howling, stamping. After we had been listening a long time to this - almost awful scene, and were about to go away, the door opened and - Beethoven stood before us with distorted features, calculated to - excite fear. He looked as if he had been in mortal combat with the - whole host of contrapuntists, his everlasting enemies. His first - utterances were confused, as if he had been disagreeably surprised - at our having overheard him. Then he reached the day's happenings - and with obvious restraint he remarked: "Pretty doings, these! - (_Saubere Wirthschaft_.) Everybody has run away and I haven't - had anything to eat since yesternoon!" I tried to calm him and - helped him to make his toilet. My companion hurried on in advance - to the restaurant of the bathing establishment to have something - made ready for the famished master. Then he complained about the - wretched state of his domestic affairs, but here, for reasons - already stated, there was nothing to be done. Never, it may be - said, did so great an artwork as is the _Missa Solemnis_ see its - creation under more adverse circumstances.[15] - -The fact that Beethoven received an advance payment on a commission -for an oratorio which he undertook to write for the Gesellschaft der -Musikfreunde has been mentioned. The sum was 400 florins. It was on -August 18. Four days later there was a meeting of the society at which -Landgrave von Fuerstenberg reported[16] that on the written application -of Prince von Odescalchi, representing the President, Beethoven had -replied that he had long been desirous to compose a work which would -reflect honor on the society and that he would do his best to expedite -it. That seems to have been the end of the matter for the time being. -There was also during the Moedling sojourn a continuation of the -negotiations with Thomson. A Mr. Smith visited Beethoven bearing a -letter from the Scotch publisher which called out a playful rejoinder -in which Beethoven sought to turn an easy play upon German words into -French. Thomson suggested that the introductions and accompaniments -to the Scotch songs be made easier ("lighter," in the German idiom); -they would be so, Beethoven replied, if the compensation were made more -difficult ("heavier" would have been his word had he been permitted to -use the German equivalent). As it is, Beethoven's humor becomes rather -ponderous, as see the letter which was written in French by Beethoven -apparently without assistance: - - _Vienne le 25me Maj, 1819._ - - _Mon cher Ami!_ - - _Vous ecrives toujours facile tres--je m'accomode tout mon - possible, mais--mais--mais--l'honorare pourroit pourtant etre - plus difficile, ou plus-tot pesante!!!!! Votre ami Mosieur Smith - m'a fait grand plaisir a cause de sa visite chez moi--en Hate, - je vous assure, que je serais toujours avec plaisir a votres - services--comme j'ai a present votre Addresse par Mr. Smith, je - serai bientot en Etat de vous ecrire plus ample--l'honorare pour un - Theme avec variations j'ai fixe, dans ma derniere letter a vous par - Messieurs le Friess, a moien dix ducats en or, C'est, je vous jure - malgre cela seulement par complaisance pour vous, puisque je n'ais - pas besoin, de me meler avec de telles petites choses, mais il - faut toujours pourtant perdre du temps avec de telles bagatelles, - et l'honneur ne permit pas, de dire a quelqu'un, ce qu'on en - gagne,--je vous souhaite toujours le bon gout pour la vrai Musique - et si vous cries facile--je crierai difficile pour facile!!!!_ - -Thomson indorsed on this letter: "25 May, 1819. Beethoven. Some -pleasantry on my repeated requests to make his Symphs and accompgnts. -to our National Airs Easy, sent by Mr. John Smith of Glasg." Another -British commission was offered him about the same time. There are -two entries in a Conversation Book, apparently in the handwriting of -Schindler: - - The Englishman brought me your letter yesterday and evening - before last I received another one for you through Fries. Another - commission was brought by the other Englishman, the friend of - Smith. A Mr. Donaldson in Edinburgh wants to know if you will not - write a Trio for 3 pianofortes and in the style of your Quintet in - E-flat. He wants to announce it as his property--The remuneration - which you demand is to be paid to you in any way you may - select--All the parts of the Trio must be obbligato. If you do not, - write to Donaldson in Edinburgh direct. These Englishmen speak of - nothing else than their wish to have you come to England--they give - assurance that if you come for a single winter to England, Scotland - and Ireland, you will earn so much that you can live the rest of - your life on the interest. - -And again: - - The gentleman is going to write to - Donaldson--Edinburgh--to-day--the answer can be here in 4 weeks and - the gentleman can be here that long. Tell him how much you want, - when it might be finished and how you want the payment made. He - is very desirous to have a composition from you and there is no - possibility of its being left on your hands--Moreover it is a great - work. If you get 40 ducats for the Sonata he can doubtless pay 100. - By that time the answer may be here from Edinburgh. - -Great Britain's monetary reward, had Beethoven accepted all its -invitations, would no doubt have been all that the friend of "Mr. -Donaldson of Edinburgh" stated and in proportion would have been the -appreciation which Beethoven would have found at the hands of the -English professional musicians, amateurs and musical laity. - -Pathetic and diverting are the incidents which Karl Friedrich -Zelter relates in letters to Goethe of his attempts to form a -closer acquaintance with Beethoven. Zelter came to Vienna in July. -He says that he wanted to call upon Beethoven, but he was in the -country--nobody knew where. This in his first letter which mentions the -subject. On August 16 he writes: - - It is said that he is intolerably _maussade_. Some say that he is a - lunatic. It is easy to talk. God forgive us all our sins! The poor - man is reported as being totally deaf. Now I know what it means to - see all this digital manipulation around me while my fingers are - becoming useless one after the other. Lately Beethoven went into an - eating-house; he sat himself down to a table and lost himself in - thought. After an hour he calls the waiter. "What do I owe?" "The - gentleman has not eaten anything yet" "What shall I bring?" "Bring - anything you please, but let me alone!" - -[Sidenote: MEETING BETWEEN BEETHOVEN AND ZELTER] - -Zelter stays in Vienna from July to September, but sees nothing of -Beethoven. Then, on September 12, he sets out with Steiner to visit -the master at Moedling. On the road they meet Beethoven, who is on his -way to the city. Leaving their carriages they embrace each other, but -conversation with a deaf man not being practicable on the highway -they separate after agreeing to meet at Steiner's at 4 o'clock in the -afternoon. Zelter was moved almost to tears. After a hurried meal he -and Steiner hastened back to Vienna. Let him relate the rest: - - After eating we drove back to Vienna at once. Full as a badger - and tired as a dog I lie down and sleep away the time, sleep so - soundly that not a thing enters my mind. Then I go to the theatre - and when I see Beethoven there I feel as if I had been struck by - lightning. The same thing happens to him at sight of me, and this - is not the place for explanations with a deaf man. Now comes the - point: In spite of the things of which Beethoven is accused justly - or unjustly, he enjoys a popular respect such as is bestowed only - upon the most excellent. Steiner had given it out that Beethoven - would appear in his little office, which will hold only six or - eight persons, for the first time in person at 4 o'clock, and - invited guests so generously that in a room crowded to the street, - half a hundred brilliant people waited in vain. I did not get an - explanation till next day, when I received a letter from Beethoven - in which he begged my pardon, for he, like me, had passed the time - set for the meeting in blissful sleep. - -Zelter's letter calls for a slight rectification. It was not the -next day but four days later that Beethoven wrote him the letter of -explanation, and Zelter's statement that Beethoven had overslept -himself as he had done was pure assumption--unless he learned it from -another source. Beethoven wrote: - - Highly respected Sir: - - It is my fault that you were lately besmeared (_angeschmiert_, - that is, deceived, cheated) as we say here, by me. Unforeseen - circumstances robbed me of the pleasure of passing a few lovely and - enjoyable hours, which would have been profitable to art, with you. - I hear that you are already leaving Vienna day after to-morrow. My - country life, to which I am forced by my poor health, is, however, - not as beneficial as usual to me this year. It may be that I shall - come in again day after to-morrow and if you are not already gone - in the afternoon I hope to tell you by word of mouth with true - cordiality how much I esteem you and desire your friendship (to be - near to you). - -The autograph of this letter contains what appears to be either a -transcript or a draft of a letter which Zelter either sent or planned -to send to Beethoven. In view of the fact that it shows a different -feeling towards the great composer than that formerly entertained by -the teacher of Mendelssohn, it is given here: - - To see once more, face to face, in this life the man who brings - joy and edification to so many good people, among whom I of course - am glad to count myself--this was the purpose, worthy friend, for - which I wished to visit you at Moedlingen. You met me, and my aim - was at least not wholly frustrated, for I saw your face. I know of - the infirmity which burdens you and you have my sympathy, for I - am similarly afflicted. On the day after to-morrow I go from here - to resume my labors, but I shall never cease to hold you in high - respect and to love you. - -[Sidenote: A COMPOSITION BY ARCHDUKE RUDOLPH] - -Friedrich Schneider, of Dessau, visited Vienna in the fall of the year -and caused a sensation by his organ-playing. He reported that Beethoven -had received him graciously and that he, in turn, had heard the master -play the pianoforte, his improvisation being the most marvellous thing -he had ever listened to. In August, Johann van Beethoven bought an -estate near Gneixendorf. This brought the brothers together in Vienna -during the winter. Johann was the "landowner" of a familiar story, and -Beethoven, the "brain owner," seemed at this time disposed to emulate -him. At least he read advertisements of houses for sale in Moedling -before the day set for the sale and advised him in the premises. In -the same letter[17] he advises Steiner to publish a set of variations -composed by the Archduke. "I have mentioned your name in the matter, -inasmuch as I do not believe that you will lose anything by the -transaction, and it is always honorable to print something by such a -_Principe Professore_." The variations were on a theme composed by -Beethoven and given to his imperial pupil as a lesson, and had called -out the obsequious remarks which may be read in the New Year's letter -to the Archduke. His remark to Steiner is explained by the fact that on -August 31 he had written to the Archduke as follows: - - As regards the masterly variations of Y. I. H. I think they might - be published under the following title, namely: - - Theme, or Task - set by L. v. Beeth. - forty times varied - and dedicated to his teacher - by the Most Serene Author. - - There are so many requests for them, and eventually this honorable - work will reach the public in garbled copies. Y. I. H. will - yourself not be able to avoid presenting copies here and there; - therefore, in the name of God, among the many consecrations which - Y. I. H. is receiving and of which the world is being informed, let - the consecration of Apollo (or the Christian Caecilia) also be made - known. True, Y. I. H. may accuse me of vanity; but I can assure you - that although this dedication is precious to me and I am really - proud of it, this is not at all my aim. 3 publishers have appealed - for it, Artaria, Steiner and a third whose name does not occur - to me. To which of the first two shall the Variations be given? - On this point I await the commands of Y. I. H. Both of them have - offered to print the variations at _their own cost_. The question - now is whether Y. I. H. is _satisfied with the title_? To the - question whether or not the variations ought to be published, Y. I. - H. ought to close your eyes; if it is done, Y. I. H. may call it a - misfortune; but _the world will think the contrary_. - -Steiner printed the archducal work in the seventh number of his -"Musical Museum" under a slightly changed title, viz.: "Theme -(_Aufgabe_) composed by Ludwig van Beethoven, varied forty times and -dedicated to the author by his pupil R[udolph], A[rch-]D[uke]."[18] -Other evidences of Beethoven's interest in Archduke Rudolph's studies -in composition are to be noted about this time. On July 29 he wrote -to his pupil from Moedling, sending him three poems and asking him -to select one for composition, encouraging him in these words: "The -Austrians now know already that the spirit of Apollo has newly awakened -in the Imperial family. From all quarters I receive requests for -something. The proprietor of the _Modezeitung_ will appeal to Y. I. H. -in writing. I hope I _shall not be accused of bribery--at Court and not -a courtier_, what possibilities??!!!" In this letter, however, there -are words of vaster import, as showing Beethoven's attitude towards -musical evolution. We quote: - - ... but _freedom_, _progress_, is the aim in the world of art as - in the whole great universe, and even if we moderns are not so far - advanced in sound technique (_Festigkeit_) as our _forefathers_, - refinement in manners has opened many things to us. My exalted - pupil in music, already a fellow-contestant for the laurel of fame, - must not subject himself to the accusation of _onesidedness_,--_et - iterum venturus judicare vivos et mortuos_.[19] - -[Sidenote: A PAINTER'S PRESENCE FORGOTTEN] - -A number of incidents in Beethoven's life may now be passed in hurried -chronological review: On October 1, he was made an honorary member of -the Mercantile Association (_Kaufmaennischer Verein_) in Vienna. In the -fall Ferdinand Schimon (1797-1852), who was musician and opera-singer -as well as painter, painted the portrait which afterward came into -the possession of Schindler, and was engraved by Eduard Eichers for -Schindler's biography.[20] Schimon had obtained permission through -Schindler to set up his easel in the chamber adjoining Beethoven's -workroom, the composer having resolutely refused a sitting because he -was busy on the _Credo_ of the mass. From this point of vantage he made -his studies and had finished them all but the eyes--the most striking -feature in the portrait. Out of this dilemma Beethoven unconsciously -helped him. He had evidently been impressed with the discretion, or -independence, of the young artist who came without a "good morning" and -went without a "good evening," and invited him to coffee. Thus Schimon -had ample opportunity to supply the one deficiency in his sketches. - -At the end of October, Beethoven returned to Vienna from Moedling, -taking lodging this time at No. 16 Josephstaedter Glacis, opposite the -Auersberg Palace and near the Bloechlinger Institute where Karl was -studying. The guardianship matter soon occupied his attention; spells -of indisposition tormented him; and financial distress so threatened -him that he attempted to negotiate a loan from the banker Hennickstein, -and borrowed 750 florins from Steiner.[21] Countess Erdoedy was in -Vienna at the end of the year and he sent her a note on December 19, -promising to visit her soon and scratching down a musical phrase which -he afterwards erased to make of it the New Year canon: "Glueck, Glueck -zum neuen Jahr." - -It is remarkable that Beethoven, under the circumstances which have -been set forth in this chapter, could continue his labors on the Mass -which were his principal occupation during the year; it was but another -proof of the absorbing possession which the composition of a great work -took of him when once fairly begun. So diligently did he apply himself -that he had hopes not only of finishing it in time for the installation -of the Archduke as Archbishop of Olmuetz, but wrote to Ries on November -10 that he had already nearly completed it and would like to know what -could be done with it in London. To Schindler, however, in expressing -a doubt that he would have it done in time for the ceremonial, he said -that every movement had taken on larger dimensions than had originally -been contemplated. Schindler says also that when the day came, not -one of the movements was finished in the eyes of the composer; yet he -alleges that Beethoven brought the completed _Credo_ with him when -he came back to Vienna from Moedling. There is this to be added to -these statements: A pocket sketchbook used in 1820 (it is now in the -Beethoven House at Bonn) shows some sketches for the _Credo_; and -there are memoranda for the same movement in a Conversation Book used -near the close of the year. That the _Gloria_ had received its final -shape is a fair deduction from a Conversation Book of the same period. -Bernard (presumably) writes: - - It was decided yesterday that you give a concert either on - Christmas or some other day. Count Stadion will give the use of the - room, and Schick, Czerny and Janitschek will care for the rest. The - programme is to include a symphony, the _Gloria_ from your mass, - the new Sonata played by you and a grand final chorus. All your - works. 4,000 florins are guaranteed. Only one movement of the mass - is to be performed. - -The project is mentioned again by another friend, and Beethoven -remarks: "It is too late for Christmas, but it might be possible in -Lent." That he worked occasionally on the Ninth Symphony, especially -in the early part of the year, has already been said. Thomson's -commissions occupied some of his time, as well as a project to -extend his labors on folksongs into a wider field. The second set of -Variations on folksong themes which was published as Op. 107 in 1820, -must be assigned, at least in part, to this year. He also, as Schindler -tells us, composed a set of waltzes for a band of seven men who played -at an inn in the valley of the Bruehl near Moedling, and wrote out the -parts for the different instruments. These waltzes have disappeared; -Schindler tried in vain to find them a few years later. The canon -"Glueck zum neuen Jahr" was composed for Countess Erdoedy on the last day -of December, if A. Fuchs, who says that he copied it from the original -manuscript, is correct. He also wrote a canon for Steiner in the -summer, as appears from a conversation recorded in a book of March 20, -1820. An unidentified hand writes: - - Last summer you sent a _canon infinitus a due_ to Steiner from - Moedling - - [Illustration] - - Nobody has solved it, but I have solved it. The second voice enters - on the second: - - [Illustration: - - it is infinite. - Go to the devil[22] - God protect you - was the text. - ] - - On September 21 he wrote a canon to the words "Glaube und hoffe" - for the younger Schlesinger, afterwards publisher in Paris, who - was a visitor in Vienna from Berlin at the time, as Beethoven's - inscription on the autograph shows.[23] - -[Sidenote: PUBLICATIONS OF THE YEAR 1819] - -The publications of the year 1819 were (1) Two Sonatas for Pianoforte -and Violoncello, Op. 102, dedicated to Countess Erdoedy, by Artaria in -Vienna (they had already been published by Simrock); (2) The Quintet -in C minor, Op. 104, arranged from the Trio, Op. 1, No. 3; (3) Themes -and Variations on Motives from Folksongs, for Pianoforte and Flute or -Violin, Op. 105, by Artaria; Pianoforte Sonata in B-flat, Op. 106, -dedicated to Archduke Rudolph, by Artaria. - -FOOTNOTES: - -[1] He had not been removed, but only temporarily suspended; he -retained the supervision of the boy's education and at a later period -voluntarily resigned the guardianship for a time. - -[2] See Kalischer-Shedlock, Vol. II. p. 124 _et seq._ The letter was -dated erroneously February 1, 1818, instead of 1819. - -[3] These citations are from the Conversation Books. - -[4] Landshut University. It was afterward removed to Munich. - -[5] As a matter of fact the boy was with Kudlich after this and -remained there until Beethoven went to Moedling. At the time of this -consultation he was with his mother. Kudlich was instructed not to -permit any communication between him and his mother. - -[6] It is undated, but to judge by its contents and the sequence of -events was written in May. See Kalischer-Shedlock, Vol. II, p. 134. - -[7] Kalischer-Shedlock, Vol. II, p. 149. - -[8] Kalischer-Shedlock, Vol. II, p. 145. - -[9] That he was not always scrupulous in preserving their integrity -when they offered evidence in contradiction of his printed statements -is the conviction of this editor for reasons which will appear later. - -[10] Apparently in reply to a question put by Beethoven an unidentified -hand writes: "Poor stuff,--empty--totally ineffective--your theme was -in bad hands; with much monotony he made 15 or 20 variations and put -a cadenza (_fermate_) in every one, you may imagine what we had to -endure--he has fallen off greatly and looks too old to entertain with -his acrobatics on the violin." - -Thayer's industry in the gathering and ordering of material for this -biography, let it be remarked here in grateful tribute, is illustrated -in the fact that he made practically a complete transcript of the -Conversation Books, laboriously deciphering the frequently hieroglyphic -scrawls, and compiled a mass of supplementary material for the purpose -of fixing the chronological order of the conversations. The dates of -all concerts and other public events alluded to were established by the -examination of newspapers and other contemporaneous records and the -utility of the biographical material greatly enhanced. - -[11] Madame Pessiak-Schmerling, a daughter of Nanni, recounted this -incident twice in the letters to Thayer. Madame Pessiak possessed a -copy of the song. Her mother had jealously preserved the original, -but, together with Beethoven's letters to Giannatasio, it was stolen. -In 1861 Thayer found song and letters among the autographs owned by -William Witt of the firm of Ewer and Co. in London, and obtained copies -of them, but Thayer's copy of the song was not found by this Editor -among the posthumous papers of the author when he examined them in -order to set aside the needful material for the completion of this -biography. The music of Miss Nanni's hymeneal ode was forty years later -put to a right royal use. Transposed from C to A major it was published -for the first time by Ewer and Co. as a setting to English words on -the occasion of the marriage of Victoria, eldest daughter of Queen -Victoria, to Frederick William of Prussia (afterwards Emperor Frederick -III) on January 25, 1858. The title of this publication, which is now -out of print, was "The Wedding Song, written and by gracious permission -dedicated to Her Royal Highness Victoria, Princess Royal, on her -Wedding Day, by John Oxenford. The music composed by L. van Beethoven. -Posthumous Work." The inscription on the original manuscript, according -to Thayer, was "Am 14ten Jenner 1819--fuer F. v. Giannatasio de Rio von -L. v. Beethoven." - -At the Editor's request Mr. J. S. Shedlock, in 1912, kindly made an -investigation and reported that so far as could be learned from the -public records the song had no place in the wedding ceremonies in 1858. -Messrs. Novello and Co. most courteously brought forth the old plates -from their vaults and had a "pull" of them made for this Editor's use. -The music can not be said to have any other than a curious interest. A -single stanza will suffice to disclose the quality of Mr. Oxenford's -hymeneal ode: - - "Hail, Royal Pair, by love united; - With ev'ry earthly blessing crown'd; - A people lifts its voice delighted, - And distant nations hear the sound. - All hearts are now with gladness swelling, - All tongues are now of rapture telling, - A day of heartfelt joy is found!" - - -[12] Dr. F. Keesbacher, who published a history of the Laibach -Philharmonic Society in 1862, thought that this was the composition -sent by Beethoven; but the "Pastoral" Symphony had been published -nearly ten years before--by Breitkopf and Haertel in May, 1809. - -[13] On the blank leaves of an Almanac for 1819, such as used to be -bound in those useful household publications for the reception of -memoranda, Beethoven notes: "Came to Moedling, May 12.!!! _Miser sum -pauper_...." "On May 14 the housemaid in Mr. came, to receive 6 florins -a month.... On 29th May Dr. Hasenoehrl made his 3rd visit to K. Tuesday -on the 22nd of June my nephew entered the institute of Mr. Bloechlinger -at monthly payments in advance of 75 florins _W. W._ Began to take the -baths here regularly (?) on 28th Monday, for the first (?) time daily." -Schindler adds: "On July 20 gave notice to the housekeeper." - -[14] Kalischer-Shedlock, Vol. II. pp. 138 and 139. - -[15] In his draft for this chapter Thayer wrote: "In the hope of -obtaining further particulars Horsalka's attention was directed to -this passage in the copy now before the writer. The result is written -on the margin in Herr Luib's hand: 'Horsalka knows nothing of this'. -This incident is doubtless true, but that Horsalka should not have -remembered it if he was present, is incredible. Schindler's queer -memory has again proved treacherous in regard to his companion." - -[16] So Pohl, who wrote a history of the "Gesellschaft," informed -Thayer in a note. - -[17] Kalischer-Shedlock, II, p. 144. - -[18] The theme was the melody written for a song beginning "O Hoffnung, -du staehlst die Herzen, vertreibst die Schmerzen," from Tiedge's -"Urania." Nohl, without giving an authority, quotes an inscription on -the autograph as follows: "Composed in the spring of 1818 by L. v. -Beethoven _in doloribus_ for H. Imp. Highness the Archduke Rudolph." -Thayer knows nothing about such an inscription, but it does not look -like an invention. In one of the Conversation Books somebody (Dr. -Deiters opines it was Peters) writes: "Fraeulein Spitzenberger played -the 40 variations by the Archduke for me yesterday. I know nothing -about it, but it seems to me that they were pretty extensively -corrected by you. The critics insist on the same thing." We do not -know what reply Beethoven made and it is a matter of small moment. The -same comment has been called out by many a royal composition since; -it was Brahms who said: "Never criticize the composition of a Royal -Highness;--you do not know who may have written it!" In justice to -Archduke Rudolph, however, it deserves to be mentioned that a set of -variations on a melody from Rossini's "Zelmira" composed by him shows -pencil corrections in the hand of Beethoven and they are few and -trifling. - -[19] There is a vagueness in this passage, and especially in the words -which precede it, which has exercised the minds of Koechel, Nohl and -Deiters; but it is the opinion of the English Editor that the meaning -has been reproduced in the above translation. As the reader may, -however, wish to form his own opinion in the matter, which is certainly -most interesting, the context is given in the original and what might -be described as an expository rendering into English: _Ich war in -Wien, um aus der Bibliothek I. K. H. das mir Tauglichste auszusuchen. -Die Hauptabsicht ist das geschwinde Treffen und mit der bessern -Kunst-Vereinigung, wobei aber practische Absichten Ausnahmen machen, -wofuer die Alten zwar doppelt dienen, indem meistens reeller Kunstwerth -(Genie hat doch nur der deutsche Haendel und Seb. Bach gehabt) allein -Freiheit, etc._, that is: "I was in Vienna to seek out some things best -suited to my purpose. What is chiefly needed is a quick recognition of -the essential coupled with a better union of the arts [i. e., poetry -and music] in respect of which practical considerations sometimes -compel an exception, as we may learn in a twofold way from the old -composers, where we find chiefly stress laid upon the artistically -valuable (among them only the German Handel and Seb. Bach had genius) -but freedom, etc." Beethoven, presumably, was following the injunction -noted in the _Tagebuch_ and, for the purposes of the work which then -engrossed him, was consulting authorities on ecclesiastical music. -That his mind was full of his Mass is indicated by the somewhat -irrelevant quotation from the text of the _Credo_. Was he not essaying -a union between the technical perfection of the old masters and a more -truthful, or literal, illustration of the missal text, wherefor freedom -was necessary? - -[20] The picture is now preserved among the rest of the relics which -Schindler deposited in Berlin. - -[21] See Kalischer-Shedlock, II, p. 151. - -[22] "Hol Euch der Teufel! B'huet Euch Gott!" - -[23] Marx published it for the first time in _facsimile_ in the -appendix of Vol. II of his biography of Beethoven. In the Collected -Works it appears on page 275, Series 25. - - - - -Chapter II - - The Years 1820 and 1821--End of the Guardianship Litigation--A - Costly Victory--E. T. A. Hoffmann--Financial Troubles--Adagios and - English Hymn-tunes--Arrested as a Vagrant--Negotiations for the - Mass in D--The Last Pianoforte Sonatas. - - -[Sidenote: DEPARTURE OF OLD FRIENDS] - -Almost involuntarily, in passing in review the incidents of the year -whose story has just been told and projecting a glance into the -near future, the question arises: Where, in these moments of doubt, -ill-health, trial, vexation of spirit and torment of body were the -old friends of Beethoven who in the earlier years had stood by him -faithfully and lovingly? Where was Stephan von Breuning? Alas! he -seems to have been an early sacrifice to Beethoven's obstinate course -in respect of his nephew. Schindler says that he had advised against -the adoption of the boy and thus wounded Beethoven in his most -sensitive part. The temporary estrangement began in 1817. Some others -of the old friends may have been rebuffed in like manner; some, like -the faithful seneschal, Zmeskall, were ill; some were absent from -Vienna--Count Brunswick, Schuppanzigh; some were dead; in some the -flames of friendship may have died down because there was so little -in Beethoven's public life to challenge their sympathy and support. -Count Lichnowsky has dropped out of the narrative and does not appear -for some years. What had happened to the ardent friend of the youthful -days, Count Waldstein? There is no answer. Once a Conversation Book -awakens curiosity and a hope. Somebody warns Beethoven in a public -place not to speak so loud, as everybody is listening. "Count Waldstein -is sitting near; where does he live?" Beethoven's answer is unrecorded -and thus passes the only opportunity which the known material offers -from which might have been learned what caused the death of that -beautiful friendship. Bernard, Schindler, Oliva, Peters and Bach were -near to him, and the last was of incalculable value to him in his -great trial. But could they replace those who were gone? - -Beethoven was become a lonely man--an enforced seeker of solitude. No -doubt many who would have been glad to give him their friendship were -deterred by the wide-spread reports of his suspicious, unapproachable, -almost repellant nature. But a miracle happens. Driven in upon -himself by the forces which seem to have been arrayed against -him, introspection opens wider and wider to him the doors of that -imagination which in its creative function, as Ruskin tells us, is "an -eminent beholder of things when and where they are not; a seer that is, -in the prophetic sense, calling the things that are not as though they -were; and for ever delighting to dwell on that which is not tangibly -present." Now he proclaims a new evangel, illustrates a higher union of -beauty and truthfulness of expression, exalts art till it enters the -realm of religion. - -In the _Tagebuch_ there stands a bold inscription written in February -of the year 1820: "The moral law in us, and the starry sky above -us--Kant."[24] This and two other citations, the first of which -Beethoven surely culled from some book, also deserve to be set down -here as mottoes applicable to the creative work which occupied his mind -during the year and thereafter: - - 'Tis said that art is long and life is fleeting:-- - Nay; life is long and brief the span of art! - If e'er her breath vouchsafes with gods a meeting, - A moment's favor 'tis of which we've had a part. - - The world is a king and desires flattery in return for favor; but - true art is perverse and will not submit to the mould of flattery. - Famous artists always labor under an embarrassment;--therefore, - first works are the best, though they may have sprung from dark - ground. - -We can only record the fact that Beethoven began the year 1820, as -he had begun its immediate predecessor, by sending a New Year's -greeting to the august pupil who was now almost continually in his -mind--Archduke Rudolph, soon to be Archbishop and Cardinal[25]--before -taking up the story of the incubus which oppressed the composer's -mind, the clog which impeded his creative activities during much of -the year--the legal proceedings concerning the guardianship of nephew -Karl. Fortunately for the tinge of these pages the end is not distant. - -Two applications made by Beethoven to the Court of Magistrates had been -denied and he now asked for a review of these decisions by the Court -of Appeals. The action of the Magistracy had grievously pained him, so -he informed the superior tribunal, and not only had his rights been -set aside, but no regard had been shown for the welfare of his nephew. -Against this he now sought relief, and he set forth his grievances: (1) -He was testamentary appointee and the _Landrecht_ had confirmed him and -excluded the mother; circumstances compelling his absence from Vienna, -he had arranged that Herr Nussboeck should be appointed guardian _ad -interim_; back permanently in the city, his nephew's welfare required -that he resume the guardianship; (2) The higher education which his -nephew's talents demanded neither the mother nor Nussboeck could -direct--the former because she was a woman and had conducted herself in -a manner which had led the _Landrecht_ to exclude her, Nussboeck because -he was too much occupied with his duties as Municipal Sequestrator and, -having been no more than a paper-maker, he did not possess the insight -and judgment essential to the scientific education of the ward. (3) -Having no child of his own, his hopes were set on the boy, who was -unusually talented, yet he had been told that he had been held back -a year in his studies and that owing to a lack of funds he was to be -taken from the institution in which he had been placed and given in the -care of his mother; by her mismanagement the boy would be sacrificed, -it being the aim of the mother to expend his share of the pension -money on herself. He had declared to the Magistracy his willingness -to defray the costs at the institute and also to engage other masters -for the boy. Being "somewhat hard of hearing" communication with -him was difficult and therefore he had asked that a co-guardian -be appointed in the person of Herr Peters, Prince Lobkowitzsian -Councillor, whose knowledge and moral character would assure such a -training and education as were justified by the boy's capacity. "I know -of no more sacred duty than the care and education of a child," he -observes. He would offer no objection to the mother's having a "sort of -joint-guardianship," but its duties and privileges should be limited to -her visiting him and learning what plans were making for his education; -to permit more would be to compass the ruin of the boy.[26] - -[Sidenote: AN APPEAL TO A HIGHER COURT] - -This petition was filed on January 7, 1820; three days later the -Appellate Court commanded the Magistracy to file a report of the -proceedings had before it, together with all minutes and documents. The -Magistracy complied on February 5, citing its decision of September 17, -1819, and defending its action on the grounds that (a) Beethoven, owing -to his deafness and his hatred of the mother of the ward, was incapable -of acting as guardian; (b) the guardianship belonged to the mother by -right of law; (c) the commission of an act of infidelity against her -husband in 1811, for which she had suffered punishment, was no longer a -bar; (d) none of the alleged "injurious disturbances and interferences" -had been definitely set forth or proven: - - If under injurious disturbances we are to understand that the - mother is desirous to see her child once every 14 days or 4 weeks, - or to convince herself about the wear and cleanliness of his - clothing, or to learn of his conduct toward his teachers, these can - appear injurious only in the eyes of the appellant; the rest of the - world, however, would find it amiss in a mother if she made inquiry - concerning her child only once a fortnight or month. - -Answering the second charge, the magistrates urged that the appellant -seemed to ask of the mother and other guardian that they themselves -educate the boy in the sciences. For this not even the appellant was -fitted, at least he had not demonstrated such a fitness; he had left -the preparation for the higher studies to others and this the mother -and guardian could also do, having, indeed, a better plan, which was to -send the boy to the R. I. Convict, where he would surely make better -progress at smaller expense. _Ad tertium_, the failure of the boy to -advance in his classes could not be laid to the mother or guardian, but -must be charged against the appellant, who had taken the boy away from -his studies for the university after two months, kept him at home three -months, and sent him to another institution of learning at the end of -June; naturally enough he lost a school year. - -The Court of Appeals demanded a more explicit report, which the -Magistracy filed on February 28, taking advantage of the opportunity to -review the proceedings had before the _Landrecht_ from the beginning, -and to make severe strictures on the conduct of Beethoven in filing -an exhibit (F) with his petition in support of which no evidence was -offered, though because of it the _Landrecht_ was asked to exclude the -mother from the guardianship which belonged to her under the law. Again -we quote: - - This exclusion can have nothing for its foundation except the - misdemeanor of which the mother was guilty in 1811, for all the - rest contained in appellant's exhibit F is unproven chatter to - which the _Landrecht_ could give no consideration, but which gives - speaking proof of how passionately and inimically the appellant - has always acted, and still acts, towards the mother, how little - he recks of tearing open wounds that were healed, since after - having endured punishment she stood rehabilitated; and yet he - reproaches her with a transgression for which she had atoned years - before, which had been pardoned by the injured husband himself who - petitioned for leniency in her sentence and who had declared her - capable and fit for the guardianship of his son in his last will - and testament, directing that the son be not taken away from his - mother. Regardless of this the appellant last year, certainly not - in the interest of the boy's welfare, inasmuch as we have excellent - educational institutions here, but only to pain the mother, to - tear the heart out of her bosom, attempted to send him out of the - country to Landshut. Fortunately the government authorities, acting - on information derived from this court, frustrated the plan by - refusing a passport. - -[Sidenote: DEPRAVITY OF KARL'S MOTHER] - -Let us try now to take a dispassionate view of the case as thus far -presented in the pleadings and documents. Not only the law of nature -but the laws of the land justified the mother in asserting her right -to look after the physical well-being of her child and seeking to -enforce it. Dr. Bach seems to have impressed that fact upon Beethoven, -wherefore he declares his willingness in the bill of appeal to -associate her with himself in the guardianship to that extent. That the -Magistrates displayed unusual, not to say unjudicial zeal in her behalf -while defending their own course is indubitable; but we are in no -position to judge of the propriety of their course, which seems to have -been in harmony with the judicial procedure of the place and period, -least of all to condemn them, so long as it was permitted them so to -do, for having made a stout resistance when their acts were impugned -in the appeal to the higher court. The "Exhibit F," filed in the -proceedings before the _Landrecht_, has not been found and its contents -can only be guessed at from the allusions to it in the documents. -Obviously it contained aspersions on the moral character of Madame van -Beethoven, and it may have been, nay, probably was, true that they were -unsupported by evidence and therefore undeserving of consideration in -a court either of law or equity. Perhaps they were not susceptible of -legal proof. It has been thought that Beethoven felt some hesitancy in -flaunting evidence of his sister-in-law's infamy in the face of the -world,[27] but he certainly showed no disposition to spare her in his -letters, nor did he hesitate to accuse her of unmentionable things -by innuendo. In a Conversation Book of this year (1820) he writes of -her that she was "born for intrigue, accomplished in deceit, mistress -of all the arts of dissimulation." On the other hand, it is singular -that the Magistrates in their final effort to justify their course -have nothing to say about the present moral standing of the woman -whose legal and natural rights they claimed to be upholding. Were they -in ignorance of what we now know, namely, that her conduct had not -only been reprehensible in 1811 (though condoned by her husband) but -continued so after her husband's death? Schindler says that she gave -birth to a child while the case was pending, and that is confirmed by -a statement of Nephew Karl's widow,[28] that in her old age Madame van -Beethoven lived in Baden with this illegitimate daughter, who was also -a dissolute woman. - -But there are many anomalous things to the studious mind in the -proceedings which we are reporting, which differ greatly from anything -which could happen in a court of chancery or probate in Great Britain -or America to-day. It is certainly repugnant to our present legal -ethics that having filed a petition to reverse the action of one -court Beethoven should not only have written private letters to a -judge of the court of review, pleading his case on personal grounds, -but that his counsel should have advised him to visit members of the -higher court to present arguments in his behalf. But, no doubt, this -was consistent with the customs of Austria a century ago; and it is -what happened. Beethoven writes to Karl Winter, an _Appellationsrat_, -and his lawyer tells him to engage him and one of his colleagues, -Schmerling, in conversation on the subject. Perhaps Winter himself -questioned the propriety of the proceeding, for in a Conversation Book -somebody, who had evidently acted as messenger in the delivery of -the letter, writes: "I gave it to Herr v. Winter; he kept me waiting -and then said that he could give no answer, nor involve himself in a -correspondence." The letter in question was written on March 6. In it -Beethoven says that he had prepared a memorial which he would place in -his hands in a few days. From the outline given it is plain that the -memorial contained a review of the case since the death of Beethoven's -brother. It had been prepared, said Beethoven, "believing that I -owed it to myself to expose the falsity of the many slanders which -have been uttered against me and to lay bare the intrigues of Madame -van Beethoven against me to the injury of her own child, as also to -place in its proper light the conduct of the Magistrates' Court." He -charges that the Magistrates had summoned the widow and her son to a -hearing without his knowledge and, as his nephew had told him, he had -been urged and led on by his mother to make false accusations against -him. He had also forwarded a document which proved the wavering and -partisan conduct of the Magistrates. He repeats the charge about his -nephew's failure to advance in his studies and adds that the boy had -had a hemorrhage which, had he not been on hand, might almost have cost -him his life. These things were not attributable to Herr Tuscher for -the reason that the Magistrates had given him too little support and -he could not proceed with sufficient energy--this the writer could do -in his capacity of uncle, guardian and defrayer of expenses. He asks -that if it becomes necessary he and his nephew be examined, cites his -expenditures to keep the boy two years in an educational institution, -saying that he had received nothing from the widow in nearly fourteen -months but would continue to pay the cost unselfishly in the future, -and had set apart 4,000 florins which was on deposit in bank and was to -go to his nephew on his death. Moreover, he had expectations from his -relations with the Archbishop of Olmuetz, etc. - -The case was prepared shrewdly, carefully and most discreetly by Dr. -Bach, who seems to have exerted an admirable influence on Beethoven -at this crisis. The nature of his advice may be learned from the -communication of Bernard in one of the recorded conversations. Bernard -is writing, and evidently giving the result of a consultation with -Dr. Bach. The Court of Appeals would ask another report from the -Magistrates and on its receipt would adjudge the case. Nussboeck, -who Dr. Bach said was willing, should voluntarily retire from the -guardianship. Beethoven was asked as to the appointment of Tuscher; -had he resigned permanently or only temporarily in favor of Tuscher, -the better to accomplish the nephew's removal from his mother? In what -manner had Tuscher abdicated, and had the Magistracy informed Beethoven -of the fact? It was necessary, said the adviser, to proceed with -moderation in all things so as to avoid the appearance of malice, and -the mother should not be assailed if it was at all avoidable, stress -being laid only on the fact that as a woman she ought not to have the -direction of the education of a boy of Karl's age, not having the -requisite fitness. It would also be necessary for him, in case he were -asked, to state his readiness to defray the cost of the boy's education -in the future and this, if the worst came to the worst, might be -followed by a threat to withdraw wholly from his care. Reproaches might -be made against him concerning the period when he had the boy with him, -the priests having taken to meddling in the matter, and it would be -well in the future not to take the boy to public eating-houses where he -would be observed and scandal fomented. - -[Sidenote: APPOINTMENT OF A JOINT GUARDIANSHIP] - -Bach seems to have advised Beethoven to visit two of the judges, Winter -and Schmerling, and himself had an interview with the boy, who told his -uncle what the advocate had questioned him about. For the nonce Karl -was on his good behavior. Bloechlinger reported favorably on his studies -to Bernard, and in a Conversation Book the boy apologized to his -uncle for some statements derogatory to him which he had made to the -Magistrates. "She promised me so many things," he said, "that I could -not resist her; I am sorry that I was so weak at the time and beg your -forgiveness; I will not again permit myself to be led astray. I did not -know what results might follow when I told the Magistrates what I did; -but if there is another examination I will retract all the falsehoods -I uttered." The magisterial commission which followed on March 29, had -plainly been held at the instance of the Appellate Court. Beethoven -was solemnly admonished, and in answer to questions declared: (1) that -he still demanded the guardianship of his nephew under the will and -would not relinquish his claim; (2) that he requested the appointment -of Councillor Peters as associate guardian; (3) that he demanded that -Madame van Beethoven be excluded from the guardianship as she had been -by the _Landrecht_, and (4) he reiterated his readiness to provide -financially for the care of his ward; he would accept an associate -guardian, but not a sole guardian, as he was convinced that no guardian -would care for his nephew as well as he. In insisting on a renewed -declaration on these points it is likely that the Court of Appeals -had some hope that Beethoven might voluntarily renounce or modify -his claims or the Magistrates recede from their attitude. Neither -contingency occurred, however, and on April 8 the reviewing court -issued its decree in Beethoven's favor, he and Peters being appointed -joint guardians (_gemeinschaftliche Vormuende_), the mother and Nussboeck -being deposed. The widow now played her last card:--she appealed to -the Emperor, who upheld the Court of Appeals. There was nothing for -the Magistracy to do except to notify the result of the appeals to -Beethoven, Madame van Beethoven, Peters and Nussboeck. This was done on -July 24. - -Beethoven had won at last. But at what a cost to himself, his art, -the world! What time, what labor, what energy had he not taken away -from his artistic creations! What had he not expended in the way of -peace of mind, of friendship, of physical comfort, of wear of brain -and nerve-force, for the privilege of keeping the boy to himself, -of watching unmolested over his physical welfare and directing his -intellectual and moral training unhindered! Surely such sacrifices, -inspired, as we know they were, by a transcendent sense of duty and -profoundest love, merited the rich reward of which he had dreamed--the -devotion of one who ought to have been all that a son could be, the -happiness of seeing the object of his love grow into a brilliant man -and a useful citizen. Was it vouchsafed him? Let us not in the midst -of his present happiness look too far into the future. Now his joy is -unbounded. He breaks into a jubilation when, in conveying the news -to Pinterics--that Pinterics who had sung the bass in "Ta, ta, ta," -in honor of Maelzel: "Dr. Bach was my representative in this affair -and this Brook (_Bach_) was joined by the sea, lightning, thunder, a -tempest, and the magisterial brigantine suffered complete shipwreck!" -Schindler says that "his happiness over the triumph which he had -won over wickedness and trickery, but also because of the supposed -salvation from physical danger of his talented nephew, was so great -that he worked but little or not at all all summer--though this was -perhaps more apparent than real, the sketchbooks disclosing from now on -only empty pages." A wise qualification, for though the sketchbooks may -have been empty, there is evidence enough elsewhere of hard work. Yet -the Mass was not finished, and for this unfortunate circumstance the -guardianship trial was no doubt largely to blame. To this subject we -shall return presently. - -Of Peters, who was appointed joint guardian with Beethoven of the -nephew, little is known beyond what we learn from Beethoven and -Peters's contributions to the Conversation Books. He was a tutor in -the house of Prince Lobkowitz and had been on terms of friendship with -Beethoven since 1816; his appointment by the court is a confirmation -of Beethoven's tribute to him as a man of intellectual parts and of -good moral character. His wife had a good voice and was a great admirer -of Beethoven, who presented her with a copy of the song cycle "An die -ferne Geliebte." A letter, once in the possession of John Ella in -London, which may be of earlier date than 1821, to which year it is, -however, most naturally assigned in view of the allusion to the "state -burden" (the nephew), runs as follows: - - How are you? Are you well or ill? How is your wife? Permit me to - sing something for you: - - [Illustration: Canon (Lively) - - Saint Peter was a rock! St.] - - [Illustration: Canon (Drawn out and dragged) - - Bernardus was a Saint? Ber-] - - How are your young princes? Will you be at home this afternoon at 5 - o'clock? Perhaps I'll visit you together with my _state_ burden. - -[Sidenote: BAD CONDUCT OF NEPHEW KARL] - -Nephew Karl remained at Bloechlinger's institute and continued to cause -worry and anxiety to his uncle. Reports concerning his conduct and -studies were variable from different persons and at different times. -Bloechlinger complained that he needed constant supervision: "Had we -not always been strict with him, he would not be where he is now." -A cleric declares that he was at heart not a bad child but had been -harmed by bad examples. "Karl has little feeling and in spite of the -knowledge for which he is praised he has no reasoning powers," writes -an unidentified person in the Conversation Book, surely not to the -satisfaction of the uncle who was always setting forth his nephew's -exceptional talent. In June somebody else (this time it may have -been Oliva) feels constrained to write: "The boy lies every time he -opens his mouth." The "terrible occurrence" which had almost crushed -Beethoven in December, 1818, repeats itself, fortunately without such -dire results to the too sympathetic uncle: In June, instead of coming -to an oral examination, Karl ran away to his mother. Madame Bloechlinger -had to take a coach and servant and bring him back to the school; and -to get him away from Madame van Beethoven, who was disposed to keep -him in concealment, had to promise to see to it that he should not -be punished for his naughtiness. Now Bloechlinger, who says that the -presence of Madame van Beethoven "poisons the air," wants the woman -excluded from his house and asks for a power of attorney to call in -the help of the police every time that Karl shall go to his mother, -whom he calls a "notorious strumpet," of whose presence in his house -he must needs be ashamed. All this was told to Beethoven by Bernard, -who had learned it from Bloechlinger. Beethoven went for advice to Bach, -who told his client that it was impracticable to get a judicial writ -against the mother enjoining her from meeting her son, and impossible -to prevent secret meetings and secret correspondence. The practical -solution of the problem was to have Bloechlinger refuse to admit the -woman to his institute and compel her to see Karl at his uncle's home. -This would serve the purpose to some extent, as the mother did not like -to meet her brother-in-law. - -The enthronization of Beethoven's imperial pupil as Archbishop of -Olmuetz took place on March 20. The Mass which was to have been the -composer's tribute was still unfinished. The reader knows why, or at -least has been provided with an opportunity to form an opinion as to -the reason. It may have been for the purpose of offering an explanation -to the new dignitary of the church, that Beethoven sought an audience -as he states in a letter of April 3. The Archducal Archbishop had gone -to Olmuetz and Beethoven wants to know his plans for the immediate -future. He had heard that H. I. H. was to return to Vienna in May, -but also that he intended to be absent for a year and a half. If so, -Beethoven deplores that he has made plans for himself which are unwise. -He begs H. I. H. not to give credence to the false reports concerning -himself (Beethoven) which might reach his ears: "If Y. I. H. calls me -one of your most treasured objects, I can honestly say that Y. I. H. -is to me one of the most treasured objects in the universe. Although -I am no courtier, I believe that Y. I. H. has learned to know me well -enough to know that no cold interest, but a sincere affection, has -always attached me to yourself and inspired me; and I might well say -that Blondel was found long ago, and if no Richard is to be found in -the world for me, God will be my Richard." He has evidently concerned -himself about the music at the court in Olmuetz: "It appears to me that -my idea to maintain a quartet will certainly be the best thing to do. -If there are already productions on a large scale in Olmuetz, something -admirable might arise in Moravia through a quartet." He advises -his pupil, in case it is his purpose to return in May, to keep his -compositions till then so as to play them first to him; but if his stay -is to be longer, he will receive the compositions with the greatest -pleasure and seek to guide H. I. H. "to the highest peaks of Parnassus." - -[Sidenote: A PUNNING CANON ON HOFMANN] - -A reference to himself as one who was at court yet not a courtier had -been made by Beethoven in an earlier letter. This play on words seems -to have been much in his head about this time and it is small wonder -that when an opportunity offered for the employment of the pun in a -canon it should have been embraced; in fact, it looks as if possibly he -had strained for the occasion, unless it should appear from evidence -yet to be found that "One who was named Hoffmann," in Beethoven's -words, was, as was long believed, the redoubtable E. T. A. Hoffmann, -who had surely deserved the tribute contained in a canon which -Beethoven wrote at this time. In the Conversation Book used in March, -1820, a strange hand writes: "In the _Phantasie-Stuecke_ by Hoffmann, -you are often spoken of. Hoffmann was musical director in Bamberg; he -is now Government Councillor. Operas of his composition are performed -in Berlin." Beethoven remarks, in writing: "Hofmann du bist kein -_Hofmann_." Later in a conversation held at table, these words occur -twice: "Hofmann / sei ja kein Hofmann--nein / / / ich heisse Hofmann -und bin kein Hofmann." These words are preceded by a measure of music, -the beginning of the canon in question. Did Beethoven thus honor the -fantastic poet, musician, novelist, essayist, singer, scene-painter and -theatrical manager who had shown such keen critical appreciation of -his symphonies? It was long a pleasure to believe so and natural, too, -until Nottebohm came with his iconoclastic evidence to the contrary. -On March 23 Beethoven had written a letter to Hoffmann, expressing his -gratification at having won the good opinion of a man gifted with such -excellent attributes as Hoffmann possessed. Had he written the canon -at this time he would surely have enclosed it in this letter and then, -since it was preserved among Hoffmann's papers, it would have been -found and given to the world with the letter. But Beethoven kept the -canon in his mind or had a copy of it, and printed it in 1825, when B. -Schott's Sons in Mayence asked him for a contribution to their musical -journal "Caecilia," which had been founded a year before. Now comes -Nottebohm with his evidence in the case. A man named Gross was once -the owner of the autograph and his son told Nottebohm that it had been -written in the Matschaker Hof, a tavern at which Beethoven was dining -at the time, and referred to a church musician named Vincenz Hoffmann, -as the informant remembered the name. Nottebohm looked through the -official lists of musicians in Vienna in the first decades of the -century; he did not find a Vincenz, but did find a Joachim Hoffmann who -might have been an acquaintance of Beethoven's; and so he set him down -as the recipient of the composer's tribute.[29] - -In the summer of 1820, Beethoven went to Moedling again, but he did not -take the lodgings in the Harfner house for the very sufficient reason -that the proprietor had served notice on him in 1819, that he could -not have it longer on account of the noisy disturbances which had -taken place there. He took a house instead in the Babenbergerstrasse -and paid twelve florins extra for the use of a balcony which commanded -a view which was essential to his happiness. He takes the baths and -receives a visit from his nephew, who probably stays with him during -his school vacation; at any rate, the boy does not return to Vienna -until October 5, on which day the Giannatasios, making an excursion -to Moedling, meet him with Karl driving to town. There is at this time -considerable talk in the Conversation Book of publishing a complete -edition of Beethoven's works. Bernard, probably, tells him that Steiner -is already counting on it and Schindler, who is enthusiastic over the -project, gives it as his opinion that arrangements must be made with -a Vienna publisher so as to avoid voluminous correspondence. Somebody -remarks: "Eckstein will so arrange it that you will always get all -the profits and will also publish your future works as your property. -He thinks that every fourth or fifth piece should be a new one." The -plan appealed strongly to Beethoven, but nothing came of it at the -time, though we shall hear of it later. It was the discussion of it, -probably, by his friends which brought out a letter from Beethoven to -Haslinger, "best of Adjutants," asking him to decide a bet. Beethoven -had wagered 10 florins that it was not true that the Steiners had -been obliged to pay Artaria 2000 florins damages for having published -Mozart's works, which were reprinted universally. - -Towards the end of October, Beethoven returned to Vienna and took -lodgings at No. 244 Hauptstrasse in the Landstrasse, "the large house -of the Augustinians" beside the church. There he was visited by Dr. -W. Chr. Mueller of Bremen, a philologist and musical amateur who had -long admired Beethoven and, with the help of his "Family Concerts," -established in 1782, had created such a cult for Beethoven's music as -existed in no city in Germany in the second decade of the nineteenth -century--according to Schindler. Mueller's daughter Elise played the -sonatas exceptionally well and was largely instrumental with her father -in creating this cult. Mueller was making an Italian tour, visited -Vienna in October and November and published an account of his meetings -with Beethoven in the "Allg. Musik. Zeit." in 1827. In this he tells -of Beethoven's freedom of speech at public eating-houses, where he -would criticize the Austrian government, the morals of the aristocracy, -the police, etc., without stint. The police paid no attention to his -utterances, either because they looked upon him as a harmless fantastic -or had an overwhelming respect for his artistic genius. "Hence," says -Dr. Mueller, "his opinion that nowhere was speech freer than in Vienna; -but his ideal of a political constitution was the English one." It was -through Dr. Mueller that we know somewhat of Beethoven's views on the -subject of analytical programmes. Among the zealous promoters of the -Beethoven cult in Bremen, was a young poet named Dr. Karl Iken, editor -of the "Bremer Zeitung," who, inspired by the _Familien-Concerte_, -conceived the idea of helping the public to an understanding of -Beethoven's music by writing programmatic expositions of the symphonies -for perusal before the concerts. Some of his lucubrations were sent -to Beethoven by Dr. Mueller, and aroused the composer's ire. Schindler -found four of these "programmes" among Beethoven's papers, and he gave -the world a specimen. In the Seventh Symphony, Dr. Iken professed to -see a political revolution. - -[Sidenote: "PROGRAMME" FOR THE SEVENTH SYMPHONY] - - The sign of revolt is given; there is a rushing and running about - of the multitude; an innocent man, or party, is surrounded, - overpowered after a struggle and haled before a legal tribunal. - Innocency weeps; the judge pronounces a harsh sentence; sympathetic - voices mingle in laments and denunciations--they are those of - widows and orphans; in the second part of the first movement the - parties have become equal in numbers and the magistrates are now - scarcely able to quiet the wild tumult. The uprising is suppressed, - but the people are not quieted; hope smiles cheeringly and suddenly - the voice of the people pronounces the decision in harmonious - agreement.... But now, in the last movement, the classes and the - masses mix in a variegated picture of unrestrained revelry. The - quality still speak aloofly in the wind-instruments,--strange - bacchantic madness in related chords--pauses, now here, now - there--now on a sunny hill, anon on flowery meadow where in merry - May all the jubilating children of nature vie with each other with - joyful voices--float past the fancy. - -It is scarcely to be wondered at that such balderdash disgusted and -even enraged Beethoven. In the fall of 1819, he dictated a letter -to Mueller--it has, unfortunately been lost--in which he protested -energetically against such interpretations of his music. He pointed -out, says Schindler, who wrote the letter for him, the errors to -which such writings would inevitably give rise. If expositions -were necessary, they should be confined to characterization of the -composition in general terms, which could easily and correctly be done -by any educated musician. - -Beethoven's complaints concerning his financial condition were chronic -and did not cease even in periods where extraordinary receipts make -them difficult to understand. That the lamentations in his letters -during the two years which we have in review were well-founded, -however, is no doubt true. With so engrossing a work as the "Missa -solemnis" on hand there could not have been much time for such -potboilers as he mentions and the other sources of revenue were not -many. From the records which are at hand, we know something about a -few of his monetary transactions. On October 26, 1820, he collected -300 florins on account, apparently, from Artaria and Co., through his -old friend Oliva. Shortly after his return to Vienna from the country, -he asks the same firm, from which he had borrowed 750 florins,[30] for -a further loan of 150 to save himself the necessity of selling one -of his bank shares. These shares, it will be remembered in partial -extenuation or at least explanation of some of his actions which are -scarcely compatible with his protestations of his unswerving honesty -in business transactions, had been set apart by him as his nephew's -legacy and he clung to them as to a sacred pledge. He promises to repay -Artaria in three months and meanwhile to send him a composition in one, -two or more movements, without honorarium. An incident which shows -him in an unamiable light is connected with his financial relations -with the publisher Steiner. On December 29, 1820, Steiner wrote him a -letter which did not see the public eye until published in the "Neue -Freie Presse" newspaper of Vienna on August 17, 1900. Steiner had sent -Beethoven a dun, or at least a statement of account, and Beethoven had, -evidently, been both rude and unreasonable in his reply. We quote from -Steiner: - -[Sidenote: INDEBTEDNESS TO STEINER] - - I cannot rest content with your remarks concerning the account - sent you; for the cash money loaned you I have charged you only 6% - interest, while for the money which you deposited with me I paid - you 8% promptly in advance and also repaid the capital promptly. - What is sauce for the goose is sauce for the gander (_Was also - dem Einen recht ist, muss dem Andern billig sein_). I am not in a - position to lend money without interest. As a friend I came to your - help in need, I trusted your word of honor and believe that I have - not been importunate, nor have I plagued you in any way; wherefore - I must solemnly protest against your upbraidings. If you recall - that my loan to you was made in part 5 years ago, you will yourself - confess that I am not an urgent creditor. I would spare you even - now and wait patiently if I were not on my honor in need of cash - for my business. If I were less convinced that you are really in a - position to give me relief and able to keep your _word of honor_ - I would, difficult as it would be for me, right gladly remain - patient a while longer; but when I remember that I myself returned - to you 4,000 florins, conventional coin, or 10,000 florins, Vienna - Standard, as capital 17 months ago and at your request did not - deduct the amount due me, it is doubly painful to me now to be - embarrassed because of my good will and my trust in your word of - honor. Every man knows best where the shoe pinches and I am in this - case; wherefore I conjure you again not to leave me in the lurch - and to find means to liquidate my account as soon as possible. - - As for the rest I beg you to accept from me the compliments of the - season together with the request that you continue to give me your - favor and friendship. It will rejoice me if you keep your word - and honor me soon with a visit; it rejoices me more that you have - happily withstood your illness and are again restored to health. - God preserve you long in health, contentment and enjoyment, this is - the wish of your wholly devoted - - S. A. Steiner. - -The letter contains pencil memoranda by Beethoven. He has evidently -added together the various sums which he owes Steiner and they amount -to 2420 florins W. W. He remarks that 1300 florins was received -"probably" in 1816 or 1817; 750 florins "perhaps" in 1819; 300 -florins "are debts which I assumed for Madame van Beethoven and -can be chargeable for only a few years; the 70 florins may have -been for myself in 1819. Payment may be made of 1200 florins a year -in semi-annual payments." A further memorandum on the cover notes -Steiner's willingness to accept payments on April 15 and October -15, 1821. The settlements seem to have been made. On April 1, 1821, -Beethoven collected 600 florins from the estate of Kinsky, being -one-half of the annuity for the year September 1820 to September 1821. -He also persuaded his friend Franz Brentano to advance him money on -the amount for which he sold the "Missa Solemnis" to Simrock in Bonn, -though he did not give him the Mass for publication in the end. But -this is a matter which can be better discussed in connection with the -incidents in the history of the compositions which fall within the -present period. - -The beginning of the year 1821 found him still at his home in the -suburb Landstrasse, and, it would seem, working as hard as his health -permitted. When he went to the country for the summer he went to -Unterdoebling and thence, after September, to Baden to take a cure -prescribed by his physician, Dr. Staudenheimer. In Baden he lived -in the Rathshausgasse. He had suffered from rheumatism during the -preceding winter and now became a victim of jaundice, for which, no -doubt, he was sent to Baden, though he had gotten rid of the disease -to some extent at least by the end of August. The cure prescribed by -Staudenheimer was more severe than he could endure and, as he writes -to Franz Brentano on November 12, 1821, he had to "flee to Vienna," -where he was more comfortable. The attack of jaundice may have been an -_arant-courier_ of the disease of the liver which brought him to the -grave six years later. He expresses a fear in a letter to the Archduke -(July 18, 1821) that it might prevent him for a long time from waiting -upon his pupil. There is the usual monetary complaint in the letter, -which concludes with: "God who knows my heart and how sacredly I -fulfill all the duties commanded by humanity, God and nature will some -day free me from this affliction." - -In 1820 the voice of an old English admirer reaches him with a request -which must have seemed strange to him. William Gardiner, as has been -told in the chapter in the first volume of this work devoted to the -compositions of the Bonn period, was one of the first proclaimers of -Beethoven's evangel in England. He had now compiled and composed a sort -of _pasticcio_, an oratorio entitled "Judah," piecing the work out -with original compositions where he had failed to find music written -by others which he could use. In his book "Music and Friends" (III, -377) he relates that he had hoped to get an original composition for -"Judah" in the shape of an appropriate overture, and to this end had -written a letter to Beethoven and forwarded it to Vienna through Baron -Neumann of the Austrian Embassy, who, on receiving it, had remarked -that it was doubtful if an answer would be received, as Beethoven held -no communication with the world. Gardiner's letter was as follows: - - To Louis van Beethoven. - - Dear Sir: - - At the house of Lady Bowater in Leicestershire in 1796, I met with - your Trio in E-flat (for Violin, Viola and Bass). Its originality - and beauty gave me inexpressible delight; indeed it was a new - sense to me. Ever since I have anxiously endeavoured to procure - your compositions as much so as the war could permit. Allow me - to present to you the first volume of my "Sacred Melodies" which - contain your divine Adagios appropriated to the British church. I - am now engaged upon a work entitled "The Oratorio of Judah" giving - a history of that peculiar people from the Jewish scriptures. The - object of this letter is to express a hope that I may induce you to - compose an Overture for this work upon which you can bring all the - force of your sublime imagination (if it please you) in the key of - D minor. For this service my friend Mr. Clementi will accept your - draft upon him for one hundred guineas. - - I have the honour to be, dear Sir, - Your faithful servant - William Gardiner. - -There is no date, but as "Judah" was criticized in "The Musical Review" -in 1821, it is presumable that the letter was written in 1820. Gardiner -deplores the fact that he received no reply from Beethoven, although -the Empress had thanked him for a copy of the "Sacred Melodies" which -he had sent to her. Evidently he did not realize that Beethoven was not -the man to feel complimented by having his "divine Adagios" turned into -hymn-tunes. An occurrence which may have cost Beethoven a pang was the -loss of his faithful helper Oliva, who took his passport in December, -1820, and went to St. Petersburg, where he settled as a teacher of -languages. - -[Sidenote: A PORTRAIT PAINTED BY STIELER] - -Another of the portraits of Beethoven which have been made familiar -by reproductions was painted in 1820, though begun in 1819. Joseph -Stieler, who enjoyed wide reputation as a portrait painter, had -come to Vienna from Munich to paint the portrait of Emperor Franz -in the latter year. He remained till some time in 1820 and made the -acquaintance of Beethoven through a letter of introduction probably -given to him by Brentano. Beethoven took a liking to him and gave -him some sittings--three, according to the testimony of the painter -himself, thus disproving Schindler's statement that "sitting after -sitting was granted and never a complaint uttered." On the contrary, -the Conversation Book presents the artist as pleading for a little -more time; and because Beethoven refused to sit longer, Stieler had to -exercise his imagination or memory in painting the hands. In fact, the -painting never received the finishing touches but remained, as those -who have seen it testify, "sketchy." In March Stieler writes in the -Conversation Book: "Have you written to Frankfort that I have begun -your portrait?--You must determine the destination of the picture. -I say that I am painting it for myself." In April Stieler asks the -question: "In what key is your mass? I want to write on the sheet: -(Mass in--)" Beethoven writes the answer: "_Missa solemnis in D_," and -Stieler: "After it has been exhibited I shall send it to Brentano--I -thank you thousands and thousands of times for so much patience." -Beethoven's friends refer frequently to the picture in their written -conversations with Beethoven. One says: "That you have been painted _en -face_ is the result of more extended study of your physiognomy. This -view shows your spirit much better than a profile." Schindler writes -that he prefers the portrait by Schimon: "There is more character -in it--all agree on that--You were very well two years ago; now you -are always ailing." J. Czerny writes: "We were just talking about -your portrait. Oliva thinks you are well hit off." The artist visits -Beethoven again at Moedling in July and writes: "Before the exhibition -I shall paint your portrait again, but full life-size. Your head makes -an excellent effect full face, and it was so appropriate because Haydn -was on one side and Mozart on the other." Stieler dated the canvass -"1819," but this can only refer to the time when it was begun. It -remained for a while in the possession of the family of the painter, -then passed through several hands by purchase until it reached those of -Countess Sauerma in Berlin, in whose possession it was when Frimmel -and Kalischer inspected it for purposes of description. Schindler says -it reproduces Beethoven's characteristic expression faithfully and that -it met with approval, though fault was found with the pose. Beethoven's -contemporaries were not used to see him with his head bowed down as -Stieler represents him; on the contrary, he carried his head high -even when suffering physical pain. A lithographic reproduction of the -portrait was made by Fr. Duerck and published by Artaria in 1826. - -In April, 1860, the author[31] had a conversation with Horzalka in -which the latter spoke very highly of Schindler and his disinterested -fidelity to Beethoven. Horzalka also said that in 1820 or 1821, as near -as he could recollect, the wife of a Major Baumgarten took boy boarders -in a house then standing where the Musikverein's hall now stands in -Vienna. Her sister, Baroness Born, lived with her. Frau Baumgarten had -a son who studied at Bloechlinger's Institute, and Beethoven's nephew -was amongst her boarders. One evening Horzalka called there and found -only the Baroness Born at home. Soon another caller came and stayed to -tea. It was Beethoven. Among other topics, Mozart came on the tapis and -the Baroness asked Beethoven, in writing of course, which of Mozart's -operas he thought most of. "Die Zauberfloete," said Beethoven and, -suddenly clasping his hands and throwing up his eyes exclaimed, "Oh, -Mozart!" As Horzalka had, as was the custom, always considered "Don -Giovanni" the greatest of Mozart's operas, this opinion by Beethoven -made a very deep impression upon him. Beethoven invited the Baroness to -come to his lodgings and have a look at his Broadwood pianoforte. - -[Sidenote: ARRESTED AS A VAGRANT] - -In 1820 Professor Hoefel, who lived at Salzburg in the last years of his -life and who engraved the Latronne portrait of Beethoven for Artaria, -was appointed to a professorship of drawing in Wiener Neustadt. A year -or two afterward, as he said,[32] he was one evening with Eisner and -other colleagues in the garden of the tavern "Zum Schleifen," a little -way out of town. The Commissioner of Police was a member of the party. -It was autumn and already dark when a constable came and said to the -Commissioner: "Mr. Commissioner, we have arrested somebody who will -give us no peace. He keeps on yelling that he is Beethoven; but he's -a ragamuffin, has no hat, an old coat, etc.--nothing by which he can -be identified." (_Herr Commissaer, wir haben Jemand arretirt, welcher -uns kein' Ruh gibt. Er schreit immer dass er Beethoven sei. Er ist -aber ein Lump, hat kein' Hut, alter Rock, etc., kein Aufweis wer er -ist, etc._) The Commissioner ordered that the man be kept under arrest -until morning, "then we will examine him and learn who he is." Next -morning the company was very anxious to know how the affair turned -out, and the Commissioner said that about 11 o'clock at night he was -waked by a policeman with the information that the prisoner would -give them no peace and had demanded that Herzog, Musical Director in -Wiener Neustadt, be called to identify him. So the Commissioner got up, -dressed, went out and waked up Herzog, and in the middle of the night -went with him to the watchhouse. Herzog, as soon as he cast eyes on -the man exclaimed, "That _is_ Beethoven!" He took him home with him, -gave him his best room, etc. Next day came the burgomaster, making all -manner of apologies. As it proved, Beethoven had got up early in the -morning, and, slipping on a miserable old coat and, without a hat, had -gone out to walk a little. He got upon the towpath of the canal and -kept on and on; seems to have lost his direction, for, with nothing to -eat, he had continued on until he brought up at the canal-basin at the -Ungerthor. Here, not knowing where he was, he was seen looking in at -the windows of the houses, and as he looked so like a beggar the people -had called a constable who arrested him. Upon his arrest the composer -said, "I am Beethoven." "Of course, why not?" (_Warum nicht gar?_) -said the policeman; "You're a tramp: Beethoven doesn't look so." (_Ein -Lump sind Sie; so sieht der Beethoven nicht aus._) Herzog gave him -some decent clothes and the burgomaster sent him back to Baden, where -he was then living, in the magisterial state-coach. This simple story -is the foundation for the fine narrative related as a fact in Vienna -that Beethoven had got into this scrape following troops from Vienna -who had a sham battle near Wiener Neustadt, and taking notes for his -"Wellington's Victory"--which whole story thus goes to the wall. - -A letter written from Baden on September 10, 1821, to Tobias Haslinger -accompanying a canon[33] on the words "O Tobias _dominus_ Haslinger, -O, O!" deserves to be given here to show that Beethoven's high spirits -could at times dominate him in spite of his general misery. - - Very best fellow! - - Yesterday, in the carriage on the way to Vienna, I was overcome by - sleep, naturally enough, since (because of my early rising here) - I had never slept well. While thus slumbering I dreamed that I - had made a long journey--to no less distant a country than Syria, - no less than India, back again, no less than Arabia, finally I - reached Jerusalem; the Holy City aroused in me thoughts of Holy - Writ and small wonder that the man Tobias now occurred to me, and - how natural that our little Tobias should enter my mind and the - _pertobiasser_, and now during my dream journey the following canon - came to me: "O Tobias _dominus_ Haslinger, O, O!" But scarcely - awakened, away went the canon and nothing of it would come back - to my memory. But when, next day, I was on my way hither in the - same conveyance (that of a poor Austrian musician) and continued - the dream journey of the day before, now awake, behold, according - to the laws of association of ideas, the same canon occurred to - me again; now fully awake I held it fast, as erst Menelaus held - Proteus, only allowing it to change itself into 3 voices. - - Farewell. Presently I shall send you something on Steiner to show - you that he has no stony (_steinernes_) heart. Farewell, very best - of fellows, we ever wish that you will always belie your name of - publisher (_Verleger_) and never become embarrassed (_verlegen_) - but remain a publisher (_Verleger_) never at a loss (_verlegen_) - either in receiving or paying--Sing the epistles of St. Paul every - day, go to pater Werner,[34] who will show you the little book by - which you may go to heaven in a jiffy. You see my anxiety for your - soul's salvation; and I remain with the greatest pleasure from - everlasting to everlasting, - - Your most faithful debtor - Beethoven. - -[Sidenote: NEGOTIATIONS FOR THE MASS IN D] - -And now as to the creative work of the two years. Paramount attention -must be given to the Mass in D, which, though long in hand and destined -for a function in which Beethoven and his Imperial Archepiscopal pupil -were profoundly concerned, was yet incomplete when the time for that -function arrived. Archduke Rudolph was installed as Archbishop of -Olmuetz on March 20, 1820. Exactly what condition the Mass was in at -that time we have no means of knowing; it was, however, in a sufficient -state of forwardness to enable Beethoven to begin negotiations for its -publication. On March 18 he wrote to Simrock: - - As regards the mass, I have pondered the matter carefully and might - give it to you for the honorarium of 100 Louis d'ors which you - offered me, provided you agree to a few conditions which I shall - propose and which I think, will not be found burdensome by you. We - have gone through the plan for publication here and believe that - with a few modifications it can be put into effect very soon, which - is very necessary; wherefore I shall make haste to inform you of - the necessary changes soon. - -This would seem to indicate that the work had been practically -completed, and that this view obtained amongst Beethoven's friends we -know from the evidence of the Conversation Books. In the summer at -Moedling he was frequently asked if it was finished and when it would -be performed. Some hurried sketches belonging to the _Credo_ are found -amongst the remarks of his friends, and also sketches for the _Agnus -Dei_. Schindler asks him in August: "Is the _Benedictus_ written out in -score? Are those sketches for the _Agnus_?" Rudolph had communicated -to him his intention to spend a part of the summer in Moedling. -Beethoven writes to him on August 3 and September 2, making apologies -for apparent neglect in not waiting upon him (he had no carriage the -first time, was in ill-health the second), but says not a word about -the mass. Some of the remarks in the Conversation Book are vague as to -the composition referred to, but many are plain enough to show that -Beethoven had informed his friends and advisers of the negotiations -with Simrock. Surprise is expressed at Simrock's delay. Beethoven is -advised to write to him and also to Brentano in Frankfort, who had -been authorized to collect the honorarium. In April somebody writes: -"Have you written to Simrock that he _must not_ publish the mass at -once, as you want first to send it or hand it to the Archduke?" Again: -"If you send the _Recepisse_ of the stage-coach he will certainly send -you the money _at once_." And later: "It would be quicker to give the -music to the stage-coach and send Brentano the receipt--at the same -time informing Simrock that Brentano had been assured of its despatch; -then Brentano can send you the money at once without waiting to receive -the music." In April again: "But he has not yet replied to your last -offer of the mass? I mean Simrock--200 ducats could help you out -greatly--Because of _your circumstances_. You must not delay writing to -Simrock or Brentano. Brentano can send you the money _at once_--or at -least very soon." "I am surprised that Simrock has not answered yet." -Meanwhile Simrock answers. "Leave Simrock's letter with me," says the -mentor, "I'll answer it and give you the letter this afternoon--if you -are satisfied with it you will sign it and I will post it to-morrow. -There must be no delay." "He says the mass can be used only by -Catholics, which is not true." "He is paying too little rather than too -much with 200 ducats." - -It is obvious that some difficulty had arisen between Beethoven and -Simrock. What that difficulty was is explained in a letter from -Simrock to Brentano dated November 12, 1820. It was a misunderstanding -concerning the price of the "new grand musical mass" which the -composer wished to sell for 100 Louis d'ors. The publisher had agreed -to the price, understanding Louis d'ors to mean what the term meant -in Bonn, Leipsic and throughout Germany, namely, the equivalent of -Friedrichs d'ors, pistoles. In order to avoid unpleasantness after the -reception of the mass he had explained this clearly to Beethoven and in -a letter, dated September 23, had repeated that by Louis d'ors he meant -Friedrichs d'ors; he was not in a position to give more. He would hold -the sum in readiness against the receipt of the mass, which Beethoven -had promised to provide with German as well as Latin words. He was also -under the impression that he had asked a speedy decision, as he did -not want to keep his money tied up in Frankfort. Hearing nothing for -four weeks he had quit counting on the mass and made other use of his -money. Learning, however, from Brentano's letter of November 8th that -Beethoven had agreed to let him have the mass, he now finds himself in -the embarrassment of not having the gold Louis d'ors on hand, but as -Brentano had said nothing on the subject he would in the meantime try -to secure the coin, unless Brentano were willing to take the equivalent -in florins at the rate of 9.36. He asked to be informed of the arrival -of the music so that he might instruct Heinrich Verhuven to receive it -on paying the sum mentioned. - -Simrock waited four weeks before abandoning hope that Beethoven would -send the mass; it was ten weeks and more before Beethoven answered -Simrock's letter. Then he sent his reply to Brentano enclosed in a -letter dated November 28. The letter has not been found, or at least -not made public; but the letter to Brentano[35] makes it plain that -Beethoven had acceded to Simrock's offer and agreed to take pistoles -for Louis d'ors. He says: - - Your kindness permits me to hope that you will not refuse to have - the enclosure sent to Simrock, inasmuch as in it my views are set - forth concerning the whole matter. Nothing remains now except to - take what he offers, namely the 100 pistoles and as much more as - you, an expert in the business, can get for me by the rate of - exchange. I am convinced of your kind disposition in this regard. - I am very hard-pressed just now, but such things are to be told - _last of all to a publisher_; it is, thank God, not my fault, but - my sacrifices for others, chiefly, too, for the weak Cardinal who - led me into this morass and does not know how to help himself. As - soon as the translation is finished I shall trouble you again by - sending you the mass, and I pray you give a little attention then - to securing what you can for me from the Jewish[36] publisher. - -Thus matters stand with the Mass at the end of 1820, and thus they -seem to have remained throughout the next year. Simrock always was to -be but never was blest with the score. On July 18, 1821, Beethoven -promises to put the work into the Archduke's hands "while here"--i. e., -at Unterdoebling; he leaves the reasons for the delay to the imagination -of his patron: "the details might prove anything but pleasant to Y. I. -H." In November he thinks again of Simrock and on the 12th writes to -Brentano: - - The mass might have been sent before this, but had to be _carefully - looked through_, for the publishers in other countries do not get - along well with my manuscript, as I know from experience, and a - copy for the engraver must be examined note by note. Moreover, - I could not come because of illness, the more since despite - everything I have been compelled to make a considerable number - of potboilers (as unfortunately I must call them). I think I am - justified in making an attempt to get Simrock to reckon the Louis - d'ors at a higher rate, inasmuch as several applications have been - made from other quarters, concerning which I shall write you soon. - As for the rest, do not question my honesty; frequently I think of - nothing except that your kind advance may soon be repaid. - -[Sidenote: LOAN ADVANCED ON THE MASS] - -It seems a fair inference from the concluding remark, together with -the advice of his friend or friends in the Conversation Book of the -previous summer concerning a collection through Brentano as soon as the -mass had been handed over to the stage-coach, that Beethoven had got an -advance from Brentano on the money which was awaiting the arrival of -the work in Frankfort. The following letter to Brentano strengthens the -inference: - - Vienna, December 20, 1821. - - Noble man! - - I am awaiting another letter respecting the mass, which I shall - send you to give you an insight into the whole affair. In any event - the entire honorarium will be paid to you whereupon you will please - deduct the amount of my indebtedness to you, my gratitude to you - will always be unbounded. I was so presumptuous as without asking - to dedicate a composition of mine to your daughter Maxe, please - accept the deed as a mark of my continual devotion to you and your - entire family--do not misinterpret the dedication as prompted by - interest or as a recompense--this would pain me greatly. There are - nobler motives to which such things may be ascribed if reasons must - be found. The new year is about to enter, may it fulfil all your - wishes and daily increase your happiness as the father of a family - in your children. I embrace you cordially and beg you to present - my compliments to your excellent, only and glorious Toni. - - Yours, etc. - - I have received from here and elsewhere offers of 200 ducats in - gold for the mass. I think I can get 100 florins W. W. more. On - this point I am waiting for a letter which I will send you at once, - the matter might then be presented to Simrock, who will certainly - not expect me to lose so much. Till then please be patient and do - not think that you have acted magnanimously towards an unworthy man. - -[Sidenote: THREE SONATAS AT A BREATH] - -Brentano informed Simrock of the situation; but the subject is now -carried over into the next year and must be left for the nonce, while -we take up the history of some other compositions. The last three -pianoforte sonatas, Op. 109, 110 and 111, belong to this period. -Also the Bagatelles Op. 119, Nos. 7 to 11 inclusive. Their story -is known. Friedrich Starcke, Chapelmaster of an Austrian regiment -of infantry, had undertaken the publication of a pianoforte method -which he called the "Wiener Pianoforteschule." Part III of the work, -which appeared early in 1821, contained these five Bagatelles under -the title "Trifles" (_Kleinigkeiten_). Above them Starcke printed: -"A contribution from the great composer to the publisher." They must -have been asked for in 1820. Somewhere about February of that year an -unidentified hand writes in the Conversation Book: "Starcke wants a -little music-piece by you for the second part of his _Klavierschule_, -for which he has contributions from the leading composers besides short -notices.... We must give him something. Notwithstanding his great -deserts in music and literature he is extremely modest, industrious -and humble.... He understands the art of compiling well. There are now -weaklings everywhere even among the strong." To this appeal Beethoven -yielded. He wrote the five Bagatelles, sketches for which are found -amongst some for the Sonata in E major (Op. 109) and the _Benedictus_ -of the mass. No. 6 is also sketched among studies for the _Credo_. No -doubt these little pieces were some of the "potboilers" (_Brodarbeit_) -referred to in the letter to Brentano; also some folksong arrangements; -and it may even be, that Beethoven included also the three great -sonatas. Schindler relates that when Beethoven heard that it was -bruited about that he had written himself out, his invention was -exhausted, and that he had taken up Scottish melodies like Haydn in -his old age, he seemed amused and said: "Wait a while, you'll soon -learn differently." Schindler then adds: "Late in the Fall (1820), -returned from his summer sojourn in Moedling, where like a bee he had -been engaged busily in gathering ideas, he sat himself down to his -table and wrote out the three sonatas Op. 109, 110, 111 'in a single -breath,' as he expressed it in a letter to Count Brunswick in order to -quiet the apprehension of his friends touching his mental condition." -Schindler was dubious about the "single breath" and, indeed, there was -a considerable lapse of time between the writing of the first of the -three sonatas and the last two. The Sonata in E belongs unquestionably -to the year 1820. The first theme is found in the Conversation Book of -April, and the work was sketched before he began the _Benedictus_ of -the mass and while he was at work on this movement, the _Credo_, the -_Agnus Dei_ and the Bagatelles for Starcke. Before the end of the year -Archduke Rudolph received the manuscript for his collection. It was -dedicated to Maximiliane Brentano,[37] and published in November, 1821, -by Schlesinger in Berlin. - -Beethoven has himself left data concerning the other two sonatas. On -the autograph of that in A-flat major, Op. 110, he wrote the date -"December 25, 1821." Sketches for it follow sketches for the _Agnus -Dei_ of the mass, which were begun in 1820.[38] It was published -by Schlesinger in Berlin and Paris in 1822. There is evidence in a -memorandum to Schindler found among the latter's papers, and also in a -letter to Schlesinger of 1823, that Beethoven intended to dedicate both -of the last two sonatas to Madame Brentano. "Ries-nichts" ("nothing -to Ries"), says the memorandum, significantly. Ideas utilized in the -C minor Sonata, Op. 111, are found amongst those for Op. 110 and -particularly among some for the _Agnus Dei_. The autograph bears the -date January 13, 1822,[39] and it is plain that most of the work was -done in 1821. It was published by Schlesinger in April, 1823, after -Beethoven had offered it to Peters of Leipsic. Corrections for these -three sonatas occupied a great deal of time; the engraving of the -French edition of the C minor was so faulty that Beethoven demanded -proof copies three times; twice his call was granted, the third time -it was refused.[40] This Sonata, Op. 111, was dedicated to Archduke -Rudolph. Beethoven had left the matter to Schlesinger, but he afterward -made a suggestion as to his wishes, for in a letter to the Archduke -on June 1, 1823, he writes: "Y. I. H. seemed to find pleasure in -the Sonata in C minor, and therefore I feel that it would not be -presumptuous if I were to surprise you with its dedication." - -There are few other compositions of these two years to ask attention, -the Canons and five Bagatelles having been mentioned. There is a song, -"Abendlied unter dem gestirnten Himmel," words by Heinrich Goebel, the -original manuscript of which bears date March 4, 1820, and which was -published as a supplement to the "Modenzeitung" on March 28, 1820, -with a dedication to Dr. Braunhofer.[41] The twenty-five Scotch Songs, -Op. 108, were published in 1821 by Schlesinger. The performances of -Beethoven's works in Vienna in 1820 and 1821 are quickly summed up. The -Gesellschaft der Musikfreunde performed the "Eroica" on February 20, -the C minor on April 9 and the F major on November 19. The Overture -in C, Op. 115, was played at a concert for the benefit of Widows and -Orphans on April 16, 1820. In the _Concerts spirituels_, conducted -by F. X. Gebauer in the season 1820-21, the Symphonies in C minor, -A major, and F major, and the Oratorio "Christus am Oelberg," were -performed. Leopoldine Blahetka, a young woman of 18 who was creating -something of a furore by her pianoforte playing at the time, played the -Concerto in B-flat on April 3, having studied it with J. Czerny. - -FOOTNOTES: - -[24] "Two things fill the soul with ever new and increasing wonder -and reverence the oftener the mind dwells upon them--the starry sky -above me and the moral law within me."--Kant's "Criticism of Practical -Reason." - -[25] The greeting was in the form of a four-part canon beginning with -a short homophonic chorus, the words: "Seiner Kaiserlichen Hoheit! Dem -Erzherzog Rudolph! Dem geistlichen Fuersten! Alles Gute, alles Schoene!" -The autograph is preserved by the Gesellschaft der Musikfreunde in -Vienna. B. and H. Ges. Aus. Series XXIII, page 187. - -[26] The reader who desires to read the documents in full is referred -to the German edition of this biography for the decrees and minutes -of the courts and to the Kalischer-Shedlock collection of letters for -Beethoven's pleadings. - -[27] 11 Dr. Deiters remarks on this point: "No doubt Beethoven had -hoped to attain his ends by general statements and thus spare himself -the shame and humiliation which would have followed had he presented -the truth, even in disguise, touching the lewdness and shameless life -of his own sister-in-law; and her legal advisers and the members of the -Magisterial Court knew how to turn this fact to their own advantage." - -[28] Made to Thayer. - -[29] Here, as in several other cases, in which opinions only and -not definitely ascertained facts are concerned, the present Editor -is inclined to attach as much importance to Thayer's judgment as -to that of his critics and revisers. Thayer's working copy of his -"Chronologisches Verzeichniss," which contains annotations of a -much later date than Nottebohm's publication in the "Thematisches -Verzeichniss" which he edited for Breitkopf and Haertel, pays no -attention to Nottebohm's conclusion. - -[30] See the letter in the Kalischer-Shedlock Coll. II, 178. - -[31] Thayer. - -[32] This anecdote is recorded in Thayer's note-book as a memorandum of -a conversation had with Hoefel on June 23, 1860. - -[33] For the music the reader is referred to Series XXIII of the -Complete Edition of Beethoven's works published by Breitkopf and Haertel. - -[34] The dramatic poet Zacharias Werner, who had become a convert -to Roman Catholicism and, now an ordained priest, was preaching to -great crowds of Viennese. The puns on the German word _Verleger_ and -_verlegen_ are untranslatable. - -[35] The letter is preserved in the Beethoven House at Bonn. It was -first published in the "Vossische Zeitung" by Dr. Kalischer on July 26, -1903. See Kalischer-Shedlock, II, 177. - -[36] Dr. Kalischer refers the remark about the "Jewish publisher" -to Schlesinger in Berlin; but this may be a mistake. In a later -correspondence with Peters, who suggests the term, Schlesinger is thus -referred to; but there is nothing to indicate that when correspondence -between Schlesinger and Beethoven had scarcely begun, Brentano was -called on to come to the rescue. Beethoven may mean a fling at Simrock -for his action in the matter of the Louis d'ors. - -[37] See the letter to Franz Brentano of December 20, 1821, and the -note to his daughter dated December 6, 1821. (Kalischer-Shedlock, II, -189.) - -[38] See Nottebohm, "Zweit. Beeth.," pp. 465 and 471. - -[39] Beethoven wrote, as if absentmindedly, "Ludwig Ludwig am 13ten -Jenner 1822." - -[40] It is noteworthy, as shown by Nottebohm ("Zweit. Beeth.," pp. -467, 468) that the first theme of the first movement of the C minor -Sonata was originally intended for a third movement in a "second -sonata" which (Op. 109 being finished) can only have been the one in C -minor. It would seem as if the use of the theme in the first movement -did not occur to the composer until after he had conceived the theme -of the variations. But the theme had figured twenty years before in a -sketchbook used when the Sonata in A major, Op. 30, was in hand. Its -key then was F-sharp minor, and it may have been intended for Op. 30. - -[41] Published also, together with three other songs--"Geheimniss," -"Resignation" and "So oder so"--by Sauer and Leidesdorf as Op. 113 in -1821 or 1822. Beethoven presented a copy of it to Fanny Giannatasio on -April 19, 1820. - - - - -Chapter III - - The Year 1822--The _Missa Solemnis_--Beethoven and His - Publishers--Brother Johann--Meetings with Rochlitz and - Rossini--Overture: "The Consecration of the House"--A Revival - of "Fidelio"--Madame Schroeder-Devrient--The "Bagatelles"--A - Commission from America. - - -It is now desirable to disregard the strict chronological sequence of -incident and dispose, so far as is possible, of the history of the -great Mass in D prior to the adoption of a new plan by which Beethoven -hoped to make it a source of extraordinary revenue. So far as it -affects Beethoven's character as a man not always scrupulous in his -observance of business obligations, the story does not need to extend -beyond the year 1822. Careful readers of this biography can easily -recall a number of lapses from high ideals of candor and justice in his -treatment of his friends and of a nice sense of honor and honesty in -his dealings with his publishers; but at no time have these blemishes -been so numerous or so patent as they are in his negotiations for the -publication of the _Missa Solemnis_--a circumstance which is thrown -into a particularly strong light by the frequency and vehemence of -his protestations of moral rectitude in the letters which have risen -like ghosts to accuse him, and by the strange paradox that the period -is one in which his artistic thoughts and imagination dwelt in the -highest regions to which they ever soared. He was never louder in his -protestations of business morality than when he was promising the -mass to four or more publishers practically at the same time, and -giving it to none of them; never more apparently frank than when he -was making ignoble use of a gentleman, whom he himself described as -one of the best friends on earth, as an intermediary between himself -and another friend to whom he was bound by business ties and childhood -associations which challenged confidence; never more obsequious (for -even this word must now be used in describing his attitude towards -Franz Brentano) than after he had secured a loan from that friend in -the nature of an advance on a contract which he never carried out; -never more apparently sincere than when he told one publisher (after -he had promised the mass to another) that he should be particularly -sorry if he were unable to give the mass into his hands; never more -forcefully and indignantly honest in appearance than when he informed -still another publisher that the second had importuned him for the -mass ("bombarded" was the word), but that he had never even deigned -to answer his letters. But even this is far from compassing the -indictment; the counts are not even complete when it is added that in -a letter he states that the publisher whom he had told it would have -been a source of sorrow not to favor had never even been contemplated -amongst those who might receive the mass; that he permitted the friend -to whom he first promised the score to tie up some of his capital for -a year and more so that "good Beethoven" should not have to wait a day -for his money; that after promising the mass to the third publisher he -sought to create the impression that it was not the _Missa Solemnis_ -that had been bargained for, but one of two masses which he had in hand. - -It is not only proper, but a duty, to give all possible weight to -the circumstances which can be, ought to be, must indeed be pleaded -in extenuation of his conduct; but the facts can not be obscured or -ignored without distorting the picture of the man Beethoven as this -biography has consistently striven from the beginning to present it. -For English and American readers, moreover, the shock of surprise will -be lessened by a recollection of Beethoven's first transactions in -London, which more than five years before had called out the advice -of the English publishers to Neate for God's sake not to buy anything -of Beethoven! As for the rest it is right to remember that at this -time many of the sources of Beethoven's income had dried up. He was no -longer able to offer his publishers symphonies in pairs, or sonatas and -chamber compositions in groups. He produced laboriously and, in the -case of compositions which were dear to his heart, with infinite and -untiring care and insatiable desire for perfection. Engrossed in such -works, he gave no thought to pecuniary reward; but, rudely disturbed -by material demands, he sought the first means at hand to supply -the need. Hence his resurrection of works composed and laid aside -years before; his acceptance of commissions which he was never able -to perform; his promise of speedy delivery of works scarcely begun; -his acceptance of advances on contracts which he could not fulfil; -his strange confidence (this we feel we are justified in assuming) -in his ability to bring forth works of magnitude in time to keep his -obligations even when the works which he had in mind had already been -there for years; his ill-health which brought with it loss of creative -vitality, of fecundity in ideas and facility in execution in inverse -ratio to the growth of his artistic ideals; the obsession of his whole -being by his idolatrous love for his nephew and the mental distress and -monetary sacrifice which his self-assumed obligation entailed and which -compelled him to become the debtor of his publishers lest he encroach -upon the emoluments of the Vienna Congress which he had solemnly -consecrated to his foster-son. Let all these things be remembered when -the story of his shortcomings is told.[42] - -And now let the story of the Mass be resumed from the point where it -was dropped in the preceding chapter; with it will be found statements -bearing on a few other more or less inconsequential compositions. - -[Sidenote: REPREHENSIBLE CONDUCT TOWARDS SIMROCK] - -On May 13, 1822, Simrock reminds Beethoven that a year has passed -since he promised to deliver the score into his hands by the end of -April. Since October 25, 1820, he (Simrock) had kept 100 Louis d'ors -on deposit in Frankfort so that there would be no delay in the payment -of the remuneration. On March 19, Beethoven had written that he had -been sick abed for six weeks and was not yet entirely well. He had told -the publisher to rest easy in his mind, that being the sole purpose -of the letter. The publisher had gone to the autumn fair of 1821 and -to the Easter fair of 1822 and asked Brentano for the mass; but been -told that it had not been received. He begs for a few words on the -subject. It would seem as if Simrock had preserved his temper very -well. The letter brings another evidence of his unchanged good will, He -had resolved at an earlier period to publish the six symphonies which -were in his catalogue in a new edition, but had not done so because it -would not pay. Now, he said, he wanted to rear a monument to his worthy -old friend and had brought out the scores in a style which he hoped -the composer would deem worthy. What Beethoven said in reply to this -letter is not known, his answer not having been given to the world; -it can be surmised, however, from the recital given to Brentano in a -letter from Beethoven dated May 19. He had been troubled by "gout in -the chest" for four months, he says, and able to do but little work; -nevertheless the Mass would be in Frankfort by the end of the next -month, that is, by the end of June, 1822. There was another reason for -the delay. Cardinal Rudolph, strongly disposed in favor of his music at -all times, did not want the Mass published so early and had returned -to the composer the score and parts only three days before. Here we -have a very significant statement. What may be called the official copy -of the Mass in D was formally presented to Archduke Rudolph on March -19, 1823; here, ten months earlier, he speaks of a score and parts -which the Archduke had returned to him three days before. The Mass, -therefore, must have had what, for the time being (Beethoven never -considered it finished so long as it was in his hands), was looked upon -as a definitive shape at the time when Beethoven promised to send it to -Brentano for Simrock. The Archduke returned it, as Beethoven says, so -that the publication might not be hindered. How long it had been in the -hands of the Archduke no one can tell. Now, said Beethoven to Brentano, -the score will be copied again, carefully examined, which would take -some time owing to his ill health, but it would be in Frankfort at the -end of June "at the latest," by which time Simrock must be ready to -make payment. He had received better offers from Vienna and elsewhere, -but had rejected all of them because he had given his word to Simrock -and would abide by the agreement even if he lost money, trusting to -make his losses good by other sales to Simrock who, moreover, might -be disposed to make a contract for the Complete Edition. Brentano -communicated with Simrock at once and received a letter from the -publisher on May 29 expressing regret that sickness had been partly -responsible for the delay. He had been expecting the Mass every day for -more than a year, during which time the money had lain with Heinrich -Verhuven because he did not want Beethoven to wait a single day for it. - -Thus on May 19, Beethoven tells Brentano that he will keep the faith -with Simrock even at a sacrifice. On March 1, however, he had written -to Schlesinger in Berlin: - - In regard to my health, things are better. As to the Mass I beg - of you to get everything, everything (_Alles, alles_, in Jahn's - transcript) in readiness as other publishers have asked for it and - many approaches have been made to me, especially from here, but I - resolved long ago that it should not be published here, as the - matter is a very important one for me. For the present I ask of - you only that you signify to me whether you accept my last offer - of the Mass together with the two songs; as regards the payment of - the honorarium, it may wait for more than four weeks. I must insist - upon an early answer, chiefly because two other publishers who want - to have it in their catalogues have been waiting for a definite - answer from me for a considerable time. Farewell, and write to me - at once; it would grieve me very much if _I could not give you just - this particular work_. - -[Sidenote: THE MASS SOLD TO SCHLESINGER] - -Schlesinger, as we learn from a letter dated July 2, 1822, had received -letters from Beethoven under date of April 9, May 29 and June (he -mistakenly says May 1). He answers the three at once, excusing his -delay on the ground that he had attended the fair in Leipsic, where he -fell ill, and had remained under the weather for several weeks after -his return to Berlin. Meanwhile business had accumulated. He accepts -Beethoven's terms for the mass and the two songs: - - Everything is in order about the Mass; pray send it and the two - songs as soon as possible and draw on me at fourteen days' sight - for 650 R. T. I will honor the draft at once and pay it. I have no - opportunity to make payment to you through Vienna. Although several - music dealers there are extensively in my debt I cannot count on - prompt payment from any of them. These gentlemen have two very ugly - traits: 1), they do not respect property rights and 2), it is with - difficulty that they are brought to pay their accounts. The book - dealers are much sounder. - -By a coincidence Schlesinger's son, who had established himself in -business in Paris, wrote to Beethoven on the same day and asked him -if a third movement of the Pianoforte Sonata in C minor (Op. 111), -which he was publishing, had not been forgotten at the copyists. He, -like his father a little later, evidently suspected that they had not -received as much music, measured in detached movements, as they had -paid for; they missed a rondo finale! The incident may have amused, -or (which is more likely) even angered Beethoven; but it can scarcely -account for the fact that Beethoven resolved about this time to have -nothing more to do with Schlesinger _pere_. On July 26 he writes to -Peters of Leipsic, with whom he has now entered into negotiations and -to whom he has offered the Mass, "In no event will Schlesinger ever -get anything more from me; he has played me a Jewish trick, but aside -from that he is not among those who might have received the Mass." -When Beethoven was conducting the negotiations with Schott and Sons in -Mayence which resulted in the firm's getting the work, he recurred to -the Schlesingers in a letter of January 22, 1824, and said: "Neither -is Schlesinger to be trusted, for he takes where he can. Both _pere -et fils_ bombarded me for the mass, but I did not deign to answer -either of them, since after thinking them over I had cast them out long -before." Beethoven's threats were frequently mere _brutum fulmen_; the -Schlesingers, _pere et fils_, remained his friends to the end and got -two of the last Quartets. - -Both Simrock and Schlesinger are now waiting for Beethoven to send -them the Mass and the fee is waiting for the composer at Frankfort. -Meanwhile negotiations have been taken up with a newcomer in the field, -who, however, is but trying to renew an association which had begun -more than 29 years earlier. Before entering upon this phase of the -history of the Mass it seems well to dispose finally of the Simrock -incident.[43] On August 22, 1822, Simrock wrote to Beethoven again. -Beethoven's answer followed on September 13 and, as it contains more -than a mere implication why he refused to abide by his contract (a -point that has been a matter more or less of speculation from the time -when the negotiations ceased till now), it is given in full here: - -[Sidenote: AN APPEAL TO SIMROCK'S GENEROSITY] - - Baden, September 13, 1822. - - My dear and valued Simrock: - - You will receive this letter from Baden, where I am taking the - baths, as my illness which has lasted a year and a half is not yet - ended. Much as I should like to write to you about many things I - must yet be brief and only reply to your last of August 22nd. As - regards the Mass you know that at an earlier date I wrote you that - a larger honorarium had been offered me. I would not be so sordid - as to haggle with you for a hundred or few more florins; but my - poor health and many other unpleasant circumstances compel me to - insist upon it. The minimum that at least four publishers have - offered me for the mass is 1000 florins Convention Coin at the - rate of twenty, or counting the florin at 3 Austrian florins C. C. - Much as I shall regret if we must part just because of this work, - I know that your generosity (_Biederherzigkeit_) will not allow me - to lose money on this work, which is perhaps the greatest that I - have composed. You know that I am not boastful and that I do not - like to show the letters of others or even quote from them; if it - were not so I might submit proofs from far and near. But I very - much wish to have the matter about the Mass settled as soon as - possible, for I have had to endure plots of all sorts on account - of it. It would be agreeable if you would let me know as soon as - possible if you will pay me this honorarium. If you will, you need - only deposit the difference with Brentano, whereupon I will at once - send you a well corrected score of the Mass which will suffice - you for the engraving. I hope my dear Simrock, whom I consider the - richest of all these publishers, will not permit his old friend to - go elsewhere for the sake of a few hundred florins. Concerning all - other matters I will write you soon; I shall remain here till the - beginning of October. I shall receive all letters which you may - write, safely as I did your last, only I beg you to write soon. - Farewell, greet the family cordially for me; as soon as I can I - will write to them myself. - - Cordially your old friend, - - Beethoven. - -This letter can scarcely be called ingenuous by the most zealous -of Beethoven's defenders. Aside from the fact that he had closed -the contract, had received an advance on the sum deposited and told -Brentano that he would keep his promise even at a sacrifice to himself, -the 1000 florins which he now asks Simrock to pay was not the minimum -sum which other publishers had offered but the maximum sum which he had -asked and all of them had agreed to pay--which, indeed, B. Schott and -Sons did pay a year and a half later. Under the circumstances it is -scarcely to be wondered at if the appeal to Simrock's generosity fell -on stony soil; but we do not know that it did. The letter was evidently -answered by Simrock, who, despairing of ever getting the Mass, may -have suggested that he would accept other works in lieu of it, for on -March 10, 1823, Beethoven writes again saying (as he had said to Peters -in November, 1822) that he should surely receive a mass, for he had -written two and was only undecided which one to send. He asked Simrock -to be patient till Easter, when he would send one of them to Brentano. -He intended also to write a mass for the Emperor. As to other works, he -offered the overture to "The Consecration of the House," the music to -"The Ruins of Athens," the overture to "King Stephen," some songs and -"Kleinigkeiten" for the pianoforte. Only for the new overture did he -fix a price (50 ducats), but he added: "You will surely receive one of -these two grand masses which are already composed; only be patient till -after Easter, by which time I shall have decided which to send." This -is the last letter between Beethoven and Simrock which has been found. -It leaves the composer promising _a_ mass instead of delivering _the_ -Mass, and that promise unfulfilled;--of a necessity, for the work, -though described as "already composed," was never written. - -In 1814 C. F. Peters had purchased the Bureau de Musique founded in -1798 by Hoffmeister and Kuehnel, publishers of a number of Beethoven's -compositions, including the First Symphony, between 1800 and 1805. On -May 18, 1822, Peters addressed a letter to Beethoven in which he said -that he had long wished to publish some of his compositions but had -refrained from applying to him because he did not wish to offend the -Viennese publishers; seeing now, however, that he was going outside -with his compositions and giving them "even to the Jew Schlesinger," -he would no longer give heed to such considerations. He had spoken to -Steiner on the subject at the last fair, who had offered no objections, -had, indeed, said that he would be glad if he (Peters) got the works -instead of Schlesinger, and had offered his services as mediary -between him and Beethoven, and asked for a list of compositions which -he wanted. Thereupon he had given Steiner such a list: symphonies, -pianoforte quartets and trios, pianoforte solos "among which there -might be small pieces," songs, etc.--anything, in short, which -Beethoven should send him would be welcome, for he wanted honor, not -profit, from the association. Beethoven replied on June 5: - - Although I met Steiner several days ago and asked him jocularly - what he had brought for me from Leipsic, he did not mention _your - commission_, even in a _syllable_, nor _you_, but earnestly pleaded - with me to assure him that _I would give him and him alone all my - present and future works_ and this _contract-wise_; I declined. - This trait suffices to show you why I often prefer foreign - publishers to local; I love straightforwardness and uprightness - and am of the opinion that the artist ought not to be belittled, - for alas! glittering as is the external aspect of fame, he is not - permitted to be Jupiter's guest on Olympus every day; too often - and too repulsively the vulgar many drag him down from the pure - ethereal heights. - -He now opened his budget of wares: the largest work was a Mass--many -had striven for it, "100 weighty Louis d'ors" had been offered for it, -but he had demanded at least 1,000 florins Convention Coin, for which -sum he would also prepare the pianoforte score; variations on a waltz -("there are many") for pianoforte--30 ducats in gold; a comic air with -orchestra on Goethe's "Mit Maedeln sich vertragen," and another air of -the same genre, 16 ducats each;[44] several rather extended songs with -pianoforte accompaniment, among them a little Italian cantata with -recitative,[45] 12 ducats each; there were also recitatives to some of -the German songs; 8 ducats each for songs; an elegy for four voices -and string quartet accompaniment,[46] 24 ducats; a chorus of Dervishes -with full orchestra, 20 ducats; a march for orchestra written for the -tragedy "Tarpeia," with arrangement for pianoforte, 12 ducats; Romance -for violin solo and orchestra,[47] 15 ducats; Grand Trio for 2 oboi and -1 English horn,[48] which might be transcribed for other instruments, -30 ducats; four military marches with percussion ("Turkish music") -prices on application; bagatelles, or trifles for pianoforte, prices on -application. - -The copy of the letter as printed contains the words here: "All -these works are ready," but they are wanting in the original draft. -Beethoven now goes on with a list of compositions which Peters "might -have soon"; a sonata for pianoforte solo,[49] 40 ducats; a string -quartet, 50 ducats. More than anything else, however, he was desirous -to have a complete edition of his works, as he wished to look after the -publication in his lifetime. He had received a number of applications, -but could not, or would not, meet all the conditions. With some -necessary help he thought such an edition of his works might be brought -out in two years, possibly in one-and-a-half; a new work was to be -added to each class, "to the Variations a new set of variations, to -the Sonatas a new sonata," etc., "and for all these together I ask -10,000 florins Convention Coin." He deplores the fact that he is no -business man; he wishes that matters were different than they are, but -he is forced to act as he does by competition, and begs that secrecy be -observed touching the negotiations, to guard against trouble with other -publishers. - -He was not kept waiting for an answer;--Peters' reply is dated June -15. He regrets to hear of Steiner's duplicity, but his conduct may -have been harmless in intention and caused by his weakness. The works -which he wanted and of which he had given a list to Steiner were a -quartet for strings, a trio of the same kind, a concert overture -for full orchestra, songs and some small solos for pianoforte "such -as capriccios, divertissements," etc. Then he takes up Beethoven's -detailed offer of compositions: - -[Sidenote: THE MASS SOLD TO PETERS] - - The most admirable amongst them is your Grand Mass, which you offer - me together with the pianoforte score for one thousand florins - C. C. and to the acceptance of which at the price I confess my - readiness.... Between honest men (_offenen Maennern_) like us there - is no need of a contract; but if you want one send it to me and - I will return it _signed_. If not, please state to me in writing - that I am to receive the Mass in question together with the - pianoforte score for 1000 florins in 20-florin pieces, and indicate - when I am to receive it and that it is to be my _sole property for - ever_. I want the first so that I may look upon this transaction - as _concluded_, and the time I want to know so that I can arrange - about the publication. If I were a rich man I would pay you very - differently for this Mass, for I opine that it is something right - excellent, especially because it was composed for an occasion; - but for me 1000 florins for a Mass is a large expenditure and the - entire transaction, on my word, is undertaken only in order to show - myself to you and the world as a publisher who does something for - art. I must ask another consideration, namely, that _nobody_ learn - how much I have paid for the Mass--at least not for some time; I am - not a man of large means, but must worry and drudge; nevertheless - I pay artists as well as I can and in general better than other - publishers. - -For the present, Peters adds, he does not want to publish larger vocal -works by Beethoven nor the Mass singly but along with other works, to -show the Viennese publishers that there is a contract between him and -Beethoven which obliges the latter to send him compositions. To that -end he asks for some songs, a few bagatelles for pianoforte solo, the -four military marches; he would be glad to take also the new string -quartet, but 50 ducats is beyond his means. Beethoven is at liberty to -tell Steiner that he had applied to Beethoven with his knowledge and -consent. Beethoven's answer (incorrectly dated July instead of June 26) -says: - -[Sidenote: SALE OF THE MASS TO PETERS CONFIRMED] - - I write you now only that I give you the Mass together with the - pianoforte score for the sum of 1000 florins, C. C. in 20-florin - pieces. You will in all likelihood receive the score in copy by - the end of July--perhaps a few days earlier or later. As I am - always busy and have been ailing for five months and works must - be carefully examined, if they go to a distance this always is - a slower matter with me. In no event will _Schlesinger_ ever - get anything more from me; he has played me a Jewish trick, but - aside from that he is not among those who might have received the - Mass. The competition for my works is very strong at present for - which I thank the Almighty, for I have also already lost much. - Moreover, I am the foster-father of the child of my brother, who - died destitute. As this boy at the age of 15 years shows so much - aptitude for the sciences, his studies and support cost much money - now and he must be provided for in the future, we being neither - Indians nor Iroquois who, as is notorious, leave everything in the - hands of God, and a pauper's is a wretched lot. I keep silence - concerning everything between us _by preference_ and beg you to be - silent about the present connection with me. I will let you know - when it is time to speak, which is not at all necessary now.... - I assure you on my honor, which I hold highest after God, that I - never asked Steiner to receive orders for me. It has always been my - chief principle never to appeal to a publisher, not out of pride - but because I have wanted to see how extended is the province which - my fame has reached.... As for the songs, I have already spoken. - I think that an honorarium of 40 ducats is not _too much_ for the - 3 songs and 4 marches. You can write to me on the subject. As soon - as the Mass is ready I will let you know and ask you to remit the - honorarium to a house here and I will deliver the work as soon as - I have received it. I will take care to be present at the delivery - to the post and that the freight charge shall not be too great. I - should like soon to be made acquainted with your plan concerning - the complete edition which is so close to my heart. - -Peters answers this letter on July 3. He is willing to pay 40 ducats -for the songs and marches and to remit part of the honorarium in -advance. Beethoven's complaint about his financial affairs distresses -him and he would like to help him. "It is wrong that a man like you -is obliged to think about money matters. The great ones of the earth -should long ago have placed you in a position free from care, so that -you would no longer have to live on art but only for art." Before this -letter was received Beethoven had written a second and supplementary -reply to the letter of June 13; it is dated July 6. He had reread -his letter and discovered that Peters wanted some of the bagatelles -and a quartet for strings. For the former, "among which are some of -_considerable length_--they might be published separately under the -title 'Kleinigkeiten' (Trifles) No. 1, 2, etc."--he asked 8 ducats -each. The quartet was not fully completed, work on it having been -interrupted. Here it was difficult to lower the prices, as such works -were the most highly paid for--he might almost say, to the shame of -the general taste, which in art frequently falls below that of private -taste. "I have written you everything concerning the Mass, and that -is settled." On July 12, Peters writes that he does not know how -long the bagatelles are and so can not tell whether they are to be -printed separately or together; but he asks that a number be sent to -him together with word as to how many of such small pieces Beethoven -has on hand, as he might take them all. As for songs he would prefer -to have some in the style of "Adelaide" or "Schloss Markenstein." -The honorarium for the compositions which were to be sent now would -amount to 200 or 300 florins in pieces of 20, but as he could not -determine the exact amount he asked Beethoven to collect the amount -from Meiss (Meisl) Brothers, bankers, on exhibition of receipt and -bill of shipment. It was all the same to him whether he collected the -money now or later; it was waiting and at Beethoven's disposal. In this -manner, so convenient for Beethoven, he would make all his payments for -manuscripts purchased. On August 3 Beethoven writes: - - I have not made up my mind as to the selection of songs and - _Kleinigkeiten_, but everything will be delivered by August 13. I - await your advices in the matter and will make no use of your bill - of exchange. As soon as I know that the honorarium for the Mass and - the other works is here all these things can be delivered by the - 15th. - -Peters was prompt in his remittance of the money which was to be -subject to Beethoven's order; Beethoven, though less prompt in getting -it, was yet ahead of his delivery of the manuscripts for which the -money was to pay. Singularly enough, the incident which provides for -us knowledge of the time when the money was received by Peters's agent -served as evidence in Beethoven's excuse for drawing the money without -keeping his part of the agreement. On July 25, about a fortnight after -the date of Peters's letter of advice, Piringer, associate conductor of -the _Concerts spirituels_, who was on terms of intimacy with Beethoven, -wrote him as follows: - - _Domine Generalissimo!_ - - _Victoria_ in Doebling--fresh troops are advancing! The wholesalers, - Meisl Bros, here in the Rauhensteingasse, their own house, 2nd - storey, have received advices from Hrn. Peters in Leipsic to pay - several hundred florins to Herrn Ludwig van Beethoven. I hasten on - Degen's pinions[50] to convey this report to _Illustrissimo_ at - once. To-day is the first sad day in the Viennese calendar, because - yesterday was the last day of the Italian opera. - -This letter Beethoven sent to Peters from Baden on September 13 in -evidence of his presumption that Piringer, who was a daily caller at -the Steiner establishment, had gossipped about the relations between -him and Peters. He was sorry that Peters had sent the money so early, -but fearing talk he had collected the money. He would send all the -little things soon. He had been pressed by the Cardinal, who had come -to Baden on the 15th and on whom he had to attend several times a week; -and work had been forced upon him by the opening of the Josephstadt -Theatre; also he wanted to write new trios to some of the marches and -revise other works, but illness and too much other employment had -prevented. "You see from this at least that I am not an author for the -sake of money.... You will recall that I begged you to keep everything -away from Steiner. Why? That I will reveal to you in time. I hope that -God will protect me against the wiles of this wicked man Steiner." On -November 22, Beethoven writes again: he had been expecting reproaches -for his negligence but though he had delivered nothing he had received -the honorarium. It looked wrong ("offensive" is his word), but he was -sure that all would be set right could they but be together a few -minutes. All the music intended for Peters had been laid aside except -the songs, the selection of which had not yet been made; as a reward -for waiting, Peters should receive one more than the stipulated number. -He could deliver more than the four bagatelles agreed on, as he had -nine or ten extra ones on hand. - -[Sidenote: "A MASS" NOT "THE MASS" FOR PETERS] - -Now there enters a new element into the story of the Mass; let -Beethoven introduce it in his own words: "This is the state of affairs -with regard to the Mass: I completed one long ago, but another is -not yet finished. There will always be gossip about me, and you must -have been misled about it. I do not know which of the two you will -receive." The gossip against which Beethoven warned Peters, it is safe -to assume, related to the compositions which the latter had purchased -but not received; in great likelihood rumors about the Mass had -reached Leipsic. Peters was in communication with Steiner and others; -and that he knew that the mass had been planned for the installation -of Archduke Rudolph as Archbishop of Olmuetz he had indicated when he -expressed the belief that it was something "right excellent" because -it had been composed for an occasion. The mass which Beethoven had -agreed to deliver by the end of July could therefore have been none -other than the Mass in D. It is deserving of mention, however, that -there is evidence that Beethoven was thinking of more than one mass -at the time--in fact, that he had thoughts of three. In a sketchbook -of the period is found a memorandum: "The _Kyrie_ in the second mass -with wind-instruments and organ only";[51] and in another place there -are six measures of a theme for a _Dona nobis_ with the superscription -"Mass in C-sharp minor." To this _Dona_ there is still another -reference or two of a later date; but that is all. It is likely that -the second mass was intended for the Emperor, as we shall see later; -Beethoven himself says that he had thoughts of a third. - -Peters is getting importunate, and on December 20 Beethoven writes to -him that nothing intended for him is entirely ready; there had been -delays in copying and sending, but he had no time to explain. The songs -and marches would be sent "next week" and there would be six bagatelles -instead of four, and he asks that payment be made for the extra two on -receipt. He had so many applications for his works that he could not -attend to them all: "Were it not that my income brings in nothing[52] I -should compose only grand symphonies, church music or at the outside -quartets in addition." Of smaller works Peters might have variations -for two oboes and English horn on a theme from "Don Giovanni"--_Da -ci la mano_ wrote Beethoven, meaning _La ci darem la mano_--and a -Gratulatory Minuet;[53] he would like Peters' opinion about the -complete edition. In a letter with the double date February 15 and 18, -1823, Peters is informed that three songs,[54] six bagatelles, one -march and a tattoo had been sent on the preceding Saturday--the tattoo -in place of one of the promised marches: - - You will pardon the delay I believe, if you could see into my heart - you would not accuse me of intentional wrongdoing. To-day I give - the lacking two tattoos and the fourth grand march to the post. I - thought it best to send three tattoos and a march instead of four - marches, although the former can be used as marches. Regimental - chapelmasters can best judge how to use such things and moreover - pianoforte arrangements of them might be made. My conduct as an - artist you may judge from the songs; one has an accompaniment for - two clarinets, one horn, violas and violoncellos and can be sung to - these instruments alone or with the pianoforte without them. The - second song is with accompaniment for two clarinets, two horns and - two bassoons, and can also be sung to them alone or with pianoforte - accompaniment alone. Both songs have choruses and the third is a - quite extended arietta with pianoforte alone. I hope you are now - reassured. I should be sorry if these delays were attributed to my - fault or desire. I shall soon write to you about the Mass, as the - decision which you are to have will presently be made. - -"Some time" before March 10, 1823, Beethoven repaid the loan of 300 -florins to Brentano, sending the money through Geimueller. In his letter -of thanks on that date he encloses a letter to Simrock, unsealed -evidently, and says to his friend, "You see from it the state of things -concerning the Mass." What that state was as it presented itself to the -mind of Beethoven we have as yet no means of knowing; but we know that -Peters was still kept in a state of expectation, for on March 20, 1823, -Beethoven writes: - - As regards the Mass I will also send you a document which I beg - you to sign, for in any event the time is approaching when you - will receive one or the other. Besides yourself there are two - other men who also desire each a mass. I am resolved to write - at least three--the first is entirely finished, the second _not - yet_, the third not even begun; but in view of them I must have an - understanding so that I may be secured in any case. You may have - the Mass whenever you pay 1000 C. C. - -[Sidenote: THREE PURCHASERS FAIL TO GET THE MASS] - -So far as Peters is concerned the matter must be dropped for a space; -he published none of the works sent to him, did not receive the Mass, -and, refusing to take a quartet in return for the 360 florins which -Beethoven collected in advance, placing the blame on him, got the money -back from Beethoven some time after November, 1825. Peters did not -get the Mass; nor did Simrock; nor did Schlesinger; nor did Probst, -another Leipsic publisher with whom Beethoven carried on negotiations -for it and the Ninth Symphony, as will appear later; nor did Artaria, -Beethoven's old publisher who, in all likelihood, was one of the "two -other men" of whom Beethoven wrote in the letter last quoted. On August -23, 1822, Artaria received a letter which, as it seems to stand alone -so far as the Mass is concerned, may well be printed in full: - - Being just now overwhelmed with work, I can only say briefly that I - have always returned your favors whenever possible. As regards the - Mass I have been offered 1000 florins, C. C. for it. The state of - my affairs do not permit me to take a smaller honorarium from you. - All that I can do is to _give you the preference_. Rest assured - that I do not _take a heller more from you than_ has been _offered - me by others_. I could prove this to you in writing. You may think - this over but I beg of you to send me an answer by _to-morrow noon_ - as to-morrow is postday and my decision is expected in other places. - - I will make a proposition to you concerning the 150 florins C. C. - which I owe you, but the sum must not be deducted now, as I am in - urgent need of the 1000 florins. In addition I beg of you to keep - everything secret about the Mass. - -It must long ago have been observed by the studious reader of these -pages that a great deal of illuminative material in the life-story -of Beethoven is found in the correspondence between the composer and -his publishers; but these letters in the later years of his life, and -especially in the period with which we are now concerned, were but -sorry guides to the state of forwardness in which compositions found -themselves at any stated time. Frequently they offer for publication -works which, so far as they had been fixed on paper at all, existed -only in the form of detached sketches; also some which, so far as we -know, existed only in the plans or purposes of the composer of which -the letters themselves are the only surviving records. It seems also -to be a fair deduction from them that Beethoven's attitude towards -his publishers with reference to them depended to a considerable -extent on his temporary financial condition, and sometimes they are -an index of that consecration to high artistic ideals of which he -remains an unapproached exemplar. The Mass in D is almost always -ready for delivery when he is in financial extremities; but when he -has helped himself with loans or the collection of advances, or -the sale of old manuscripts or potboilers, his insatiable desire to -revise, amend and improve his great work takes possession of him, and -the vast amount of rewriting and recopying thus entailed pushes its -ultimate completion into the future and precipitates another period -of distress. He borrowed money from Brentano on the strength of the -deposit which Simrock had made in Frankfort; collected the honorarium -which Peters had advanced on the purchase of long undelivered songs, -bagatelles and marches; postponed the evil day of liquidation with -Steiner; finally borrowed money from his brother Johann, and to secure -the debt practically hypothecated to him all the manuscripts which -lay finished and unfinished in his desk by placing their sale in his -hands, subject to his instructions and advice. This circumstance brings -Johann van Beethoven back significantly into this history and invites -an inquiry into his character and his conduct with reference to his -famous brother. That, contemptible as his character may have been, -he has yet been maligned and his conduct towards Beethoven falsified -by Schindler and the romance writers who have accepted Schindler's -misrepresentations and embellished them with the products of their own -unscrupulous imaginations, is scarcely open to doubt. - -Something of the earlier history of Johann van Beethoven has been -told in the chapters of this biography which deal with the incidents -of the years 1808 and 1812. The brother, whose association with a -woman obnoxious to him because of her frivolousness and moral laxity -Beethoven sought to prevent by police methods and thereby only -precipitated a marriage, had grown rich enough in the interim to buy -some farm property near Gneixendorf and to make his winter residence -in Vienna. There we find him in the spring of 1822 living in the house -of his brother-in-law, a baker named Obermayer, at the intersection of -Koth- and Pfarrgassen. Thenceforward for a number of years, because of -his relationship to his famous brother, his idiosyncrasies, habits and -public behavior (and to a smaller number, the conduct of his wife), he -became a conspicuous and rather comical figure in Vienna. Gerhard von -Breuning described him thus:[55] - - His hair was blackish-brown; hat well brushed; clothing clean - but suggesting that of a man who wishes to be elegantly clad on - Sundays; somewhat old-fashioned and uncouth, an effect which was - caused by his bone-structure, which was angular and unlovely. His - waist was rather small; no sign of embonpoint; shoulders broad; if - my memory serves me rightly, his shoulders were a trifle uneven, - or it may have been his angular figure which made him look - unsymmetrical; his clothing generally consisted of a blue frockcoat - with brass buttons, white necktie, light trousers (I think corn - color), loose linen-thread gloves, the fingers too long so that - they folded at the ends or stuck out loosely. His hands were broad - and bony. He was not exactly tall of stature, but much taller than - Ludwig. His nose was large and rather long, the position of his - eyes, crooked, the effect being as if he squinted a little with one - eye. The mouth was crooked, one corner drawn upwards giving him - the expression of a mocking smile. In his garb he affected to be - a well-to-do elegant, but the role did not suit his angular, bony - figure. He did not in the least resemble his brother Ludwig. - -[Sidenote: CHARACTER OF JOHANN VAN BEETHOVEN] - -Breuning also says in his book "Aus dem Schwarzspanierhause," that -he was sometimes seen driving in the Prater with two or four horses -in an old-fashioned phaeton, either handling the reins himself or -lolling carelessly in the seat with two gallooned servants on the box. -Beethoven's friends used to ridicule his brother to his face. In a -Conversation Book of 1822-23 Count Moritz Lichnowsky writes: "Everybody -thinks him a fool; we call him only the Chevalier--all the world says -of him that his only merit is that he bears your name." No doubt there -was something, even a good deal, of the parvenu in Johann's character. -He had neither the intellectual nor moral poise to fit him for the -place which he thought he was entitled to fill by virtue of his wealth -and his relationship to one of the most famous men of his age. Nor -could he command respect from a social point of view. How far from -above reproach his wife was, Beethoven showed by his unjustifiable -conduct when he sought to have her ejected from Linz in order to -separate her from his brother. That conduct Ludwig's letters, soon to -be quoted, show had been condoned by him, but a memorandum found among -Schindler's papers discloses that her conduct in Vienna was such that -Beethoven again thought of invoking the police.[56] - -[Sidenote: A DEFENSE OF THE OLDER BROTHER] - -That Johann van Beethoven was fond of money is indicated in his remarks -in the Conversation Books, when his advice to his brother is always -dictated by financial considerations and, no doubt, by the thoughts of -profits in which he hoped to share. But what would you? For what other -purposes had Beethoven asked him in to his councils? Surely not to get -his views on the artistic value of his work. He defers in his letters -to his brother's superior business sagacity--that is all. It does not -anywhere appear that Johann ever attempted to overreach him or lead -him to financial injury. No doubt Beethoven in his fits of anger said -many things about him which put him in a bad light before his friends; -but did he not do the same thing in their own cases? Did Schindler -escape calumny? The better evidence is that offered by the letters -which show that Beethoven had confidence in his brother's honesty and -judgment, invited his help, and was solicitous lest he suffer loss -from his efforts. If Johann lacked appreciation of his brother's real -significance in art, he was proud of the world's appreciation of him, -and if he could not have high regard for that high moral attitude in -the matter which had brought condemnation on his sister-in-law and -wife, he at least showed magnanimity in not trying to do his brother -injury and being always ready to help him when he could. It is very -likely that he was not at all musical and that his affectation of -appreciation of his brother's works made him a fair subject for -ridicule. But surely there was little moral obliquity in that. In a -conversation in 1824 the nephew relates that his uncle had been present -at a chamber concert. Beethoven wants to know what he was doing there, -and the nephew replies: "He wants to acquire taste; he is continually -crying _bravo_." So also Holz relates, in 1826, that Johann had -certainly heard the Quartet in E-flat major ten times, yet when it was -played in that year he said he was hearing it for the first time.[57] - -Beethoven needed Johann's help; he had a good opinion of his business -ability, and it is possible that he had learned something of tolerance -from the trials and tribulations which his quarrels with his other -sister-in-law had brought him. It is certain that after a separation -of nine years from his brother he was not merely desirous but eager -for a perfect reconciliation and a closer union. Johann offers his -help, but it is Beethoven who expresses the wish that the two may -live together, it is Beethoven who asks his brother to come to him -and help him negotiate the sale of his compositions. Johann no doubt -conducted some negotiations without his brother's knowledge, but not -without authority; and so far as the Mass is concerned it is put into -the brother's hands only after Johann has lent Beethoven 200 florins -and the Mass has been promised not only to Peters but to Simrock before -him. No doubt Johann exceeded his authority; at least, something had -come to the ears of Count Moritz Lichnowsky, probably from Beethoven -himself, which made him say in the conversation already cited, "You -ought to forbid him doing business or carrying on correspondence -without your signature. Perhaps he has already closed a contract in -your name"; but would it not have been better for Beethoven's present -reputation for business honesty--if we must distinguish between the -ethics of the counting-house and those of the rest of the world--if he -had closed and kept the contracts which he had made when he called his -brother to help him with his correspondence? Schindler accuses Johann -of having persuaded Beethoven to take unfit lodgings; but Beethoven -expressly exonerates him from blame. He reproaches Johann for not -having provided his brother with money to pay his debts or offering his -security for them; but Johann lent him 200 florins before he went to -Baden and probably did not see why he should burden his own business -enterprises in order to enable Beethoven to keep the bank shares intact -for the nephew. He was willing to be helpful, however, and repeatedly -offered his brother a house on his estate, and in 1824 tried to -persuade him to take one rent free; but Beethoven's antipathy to his -sister-in-law would not let him accept. - -Exactly when Beethoven went to Oberdoebling in the summer of 1822 -is not known, but he was there in July, and an endorsement on the -Simrock letter of May 13 would seem to indicate that he was there in -that month. His lodgings were in No. 135 Alleegasse. In the spring or -early summer he writes to Johann begging him, instead of driving in -the Prater, to come to him with his wife and step-daughter. His whole -desire is for the good which would inevitably follow a union. He had -made inquiries about lodgings and found that it would not be necessary -to pay much more than at Oberdoebling, and that, without sacrifice of -any pleasure, much money might be saved for both. He says: - - I have nothing against your wife; I only wish that she might - realize how much you might benefit from being with me and that all - the miserable trifles of this life ought to cause no disturbances. - - Peace, peace be with us. God grant that the most natural tie - between brothers be not unnaturally broken. At the best my life - may not be of long duration. I say again that I have nothing - against your wife, although her behavior towards me has struck me - as strange several times of late; besides, I have been ailing for - three and a half months and extremely sensitive and irritable. But - away with everything which does not _promote the object_, which is, - that I and my good Karl lead a regular life which is so necessary - to me. - -[Sidenote: BEETHOVEN ASKS JOHANN'S HELP] - -Here there is no mention of business matters and hence it may be -assumed that the letter dates from an early period in the reunion of -the brothers. But business considerations prompt a letter of July 26 in -which he tells Johann that his physician had ordered him to go to Baden -to take thirty baths and that he would make the journey on August 6 or -7. Meanwhile he would like to have his brother come to him and give him -his help and then accompany him to Baden and remain there a week. He -was engaged, he said, upon corrections of the Mass for which Peters was -to give him 1000 florins. Peters had also agreed to take some smaller -works and had sent 300 florins, but he had not yet accepted the money. -Breitkopf and Haertel had also sent the Saxon _Charge d'Affaires_ to him -to talk about new works and inquiries had come from Paris and Diabelli -in Vienna. Publishers were now struggling for his works: "What an -_unfortunate fortunate_ am I!!!--this Berliner has also turned up--if -my health would return I might yet _feather my nest_ (_auf einen gruenen -Zweig kommen_)." - - The Archduke-Cardinal is here. I go to him twice a week. Though - there is nothing to be expected from him in the way of magnanimity - or money, I am on such a good and confidential footing with him - that it would be extremely painful not to show him some agreeable - attention; moreover, I do not think that his apparent niggardliness - is his fault. - -In the same letter he says he might have had the 1000 florins from -Peters in advance but did not want to take them. He did not want to -"expose" himself, and he therefore asked his brother for a loan, -so that his trip to Baden might not be delayed. There was no risk -involved, as he would return the 200 florins in September with thanks. -"As a merchant you are a good counsellor," are some of his words. The -Steiners are also crowding him into a corner and trying to force him -into a written agreement to let them have all his compositions; but he -had declared that he would not enter into such an arrangement until his -account had been settled, and to that end he had proposed to them that -they take two pieces which he had written for Hungary[58] and which -might be looked upon as two little operas. They had before then taken -four of the numbers. The debt to the Steiners amounted to 3000 florins, -but they had in the "most abominable manner" charged interest, to which -he would not consent. Part of the debt had been Karl's mother's[59] -which he had assumed because he wanted to show himself as kindly -disposed as possible, so that Karl's interests would not be endangered. -Again he urges him to come to Baden and to put pantry and cellar in the -best of condition against September, for presumably he and his little -son would set up headquarters with him and had formed the noble resolve -to eat him out of house and home. - -In this letter was enclosed a memorandum of the deposit of 300 florins -(from Peters) to his credit at Maisl's; and another of no date, but -evidently written at about the same time, stated that the money was -at Maisl's but in case of need he would rather make a loan than draw -it, "for the Mass will be ready on the 15th of next month." He went to -Baden on September 1, but before then wrote again to Johann expressing -a wish to see him so that the affair with Steiner might be settled, it -being necessary to have the music to "The Ruins of Athens"[60] in print -by the end of October, when the theatre for which it had been prepared -would be opened. A week after his arrival in Baden, on September 8, -he writes that he had been disturbed at the delay, partly because of -his brother's ill health, partly because he had had no report on the -commission undertaken with Steiner. Simrock had written again about the -Mass, but had mentioned the old price; if he were written to, however, -he thought he would increase it. Two singers had called on him that day -and asked to kiss his hands, "but as they were very pretty I suggested -that they kiss my lips." Another letter obviously written about the -same time but a little later tells of his temporary apprehension lest -his brother had fallen out with Steiner. He also suspected that his -brother might be angered at his not having mentioned the loan. In -this dilemma, fearful for the Mass, he had written to Simrock that he -would let him have it for 1000 florins. "But as you write that you -want the Mass I am agreed, but I do not want you to lose anything by -it." Matters are not yet straightened out at Steiner's, as appears -from a letter which he encloses. Meanwhile the Josephstadt Theatre -has given him work to do which will be quite burdensome, in view of -his cure, Staudenheimer having advised him to take baths of one and a -half hour's duration. However, he already had written a chorus with -dances and solo songs;[61] if his health allows, he will also write -a new overture. On October 6, he addresses his brother in a jocular -mood: "Best of little Brothers! Owner of all the lands in the Danube -near Krems! Director of the entire Austrian Pharmacy!" The letter -contains a proposition for Steiner concerning the Josephstadt Theatre -music. Steiner has two numbers already and has advertised one of them; -there are eight numbers left, including an overture. These Steiner can -have at the following rates: the overture 30 (perhaps he could get 40 -ducats); four songs with instrumental accompaniment, 20 ducats each; -two wholly instrumental numbers, 10 ducats each:--total, 140 ducats. -If "King Stephen" is wanted there are twelve numbers of which four are -to be reckoned at 20 ducats each, the others at 10 ducats and one at 5 -ducats--_summa summarum_ 155 ducats. "Concerning the new overture, you -may say to them that the old one could not remain, because in Hungary -the piece was given as a postlude, while here the theatre was opened -with it.... Ponder the matter of the Mass well, because I must answer -Simrock; unless you lose nothing, I beg of you not to undertake it." - -The story of the music composed and adapted for the Josephstadt Theatre -will be told in the chronological narrative of incidents belonging -to the year; as for the Mass let it be noted that after Johann had -expressed a desire to take it in hand we hear nothing more of the -correspondence with Peters for a long time. The autograph score was -ready; Beethoven had it copied, but continued making alterations in it; -not until the next year was it delivered into the hands of the Archduke -and new efforts made towards its publication. - -At the beginning of 1822, Beethoven still lived at No. 244 -Hauptstrasse, Landstrasse, Vienna. The first significant happening -to him in the new year was his election as honorary member of the -Musik-Verein of Steiermark in Gratz, whose diploma, couched in the -extravagantly sentimental verbiage of the day and country, bore date -January 1. He noted the conclusion of the C minor Sonata (Op. 111) -on the autograph manuscript on January 11. Bernhard Romberg, the -violoncello virtuoso, was in Vienna in the beginning of the year, -giving concerts with his daughter Bernhardine and a son of 11 years, -who was also a budding virtuoso on his father's instrument. On February -12, Beethoven writes to his old friend that if he was not present at -the concert, it would be because he had been attacked with an earache, -the pain of which would be aggravated even by the concert-giver's -tones. He concluded the letter with the wish in addition "to the -fullest tribute of applause, also the _metallic recognition_ which -high art seldom receives in these days." If Hanslick is correct in his -history of concert life in Vienna, Beethoven's wish was fulfilled: -Romberg's earnings during the Vienna season amounted to 10,000 florins. - -[Sidenote: ADVICES FROM LONDON THROUGH NEATE] - -When Beethoven went to Oberdoebling he moved into the house Alleegasse -135, but for the time being kept his lodgings in town. In Oberdoebling -he began a treatment consisting of taking powders and drinking the -waters. He worked on the Mass, the Ninth Symphony, and on smaller -compositions from which he expected quicker returns. He was expected to -visit Archduke Rudolph twice a week, but the attendance was irregular. -Applications for his works came to him from other cities and Breitkopf -and Haertel sent the Charge d'Affaires of the Saxon Legation to him -with a letter regretting that the business connection which formerly -existed had been discontinued and expressing a desire to renew it with -an opera. The messenger was Greisinger, Haydn's first biographer, who -had made Beethoven's acquaintance as a young man. He was musical, and -Beethoven applied to him for advice the next year, when he sent an -invitation to the Saxon Court for a subscription to the Mass in D. On -September 2, Beethoven received a letter from Charles Neate, which -was plainly an answer to an appeal which had been sent by Beethoven, -concerning the publication in London of three quartets. Letters -from Ries refer to the same quartets, which as yet existed only in -Beethoven's intentions. Neate says that he had found it difficult -to obtain subscriptions for the works. He thought, however, that he -might still be able to raise L100, but could not get any money before -the arrival of the works in London. There was also apprehension that -the compositions would be copied in Vienna. Beethoven had referred -to a quartet and possibly some successors in his correspondence with -Peters, so that it is more than likely that a determination to return -to the quartet field had been formed by Beethoven before the practical -and material incentive came to him in the last month of the year from -Prince Galitzin--the incentive to which we owe three of the last five -Quartets. - -There must now be recorded some of the facts connected with the -visit to Beethoven of a distinguished musical litterateur from -Leipsic--Friedrich Rochlitz. Rochlitz arrived in Vienna on May 24 -and remained there till August 2. He wrote two letters about his -experiences in the Austrian capital, one under date of June 28, the -other of July 9. The latter contained his account of his meetings -with Beethoven and is reprinted in Vol. IV of his "Fuer Freunde der -Tonkunst." He had never seen Beethoven in the flesh and was eager for -a meeting. A friend to whom he went (it is very obvious that it was -Haslinger) told him that Beethoven was in the country and had grown -so shy of human society that a visit to him might prove unavailing; -but it was Beethoven's custom to come to Vienna every week and he was -then as a rule affable and approachable. He advised Rochlitz to wait, -and he did so until the following Saturday. The meeting was a pleasant -one and enabled Rochlitz to study Beethoven's appearance and manner; -but the interview was suddenly terminated by Beethoven in the midst -of the visitor's confession of his own admiration and the enthusiasm -which Beethoven's symphonies created in Leipsic. From the beginning -Beethoven had listened, smiled and nodded, but after he had curtly -excused himself on the score of an engagement and departed abruptly, -Rochlitz learned that his auditor had not heard or understood a word -of all that he had said. A fortnight later Rochlitz met Franz Schubert -in the street, who told him that if he wanted to see Beethoven in -an unconstrained and jovial mood he should go along with him to an -eating-house where the great man dined. He went and found Beethoven -sitting with a party of friends whom the chronicler did not know. -Though he got a nod of recognition for his greeting he did not join -the party but took a seat near enough to observe Beethoven and hear -what he said, for he spoke in a loud voice. It was not a conversation -so much as a monologue to which he listened. Beethoven talked almost -incessantly; his companions laughed, smiled and nodded approval. - - He philosophised and politicised in his manner. He spoke of England - and the English, whom he surrounded with incomparable glory--which - sounded strange at times. Then he told many anecdotes of the French - and the two occupations of Vienna. He was not amiably disposed - towards them. He talked freely, without the least restraint, - seasoning everything with highly original and naive opinions and - comical conceits. - -[Sidenote: CONVERSATION WITH FRIEDRICH ROCHLITZ] - -After finishing his meal Beethoven approached Rochlitz and beckoned him -into a little anteroom, where conversation was carried on with the help -of a tablet which Beethoven produced. He began with praise of Leipsic -and its music, especially the performances in church, concert-room and -theatre; outside of these things he knows nothing of Leipsic, through -which he passed as a youth on his way to Vienna. (No doubt it was the -Berlin trip to which Beethoven referred, of which Rochlitz appears to -be ignorant.) Praise of Leipsic was followed by violent condemnation -of Vienna and its music. - - Of my works you hear nothing. Now--in summer. - - No; it's the same in winter. What is there for them to hear? - "Fidelio"? they can't perform it and do not want to hear it. The - symphonies? For these they have no time. The concertos? Everybody - grinds out his own productions. The solos? They're out of fashion - long ago--and fashion is everything. At the best, Schuppanzigh - occasionally digs up a quartet, etc. - -Rochlitz is here probably helping out his memory by drawing a bit -on his fancy; Schuppanzigh was at this time still in Russia, having -started on a tour through Germany, Poland and Russia in 1815, from -which he did not return till 1823. Rochlitz is interesting, but it is -well to revise his utterances by occasional appeals to known facts. He -goes on: Beethoven asked him if he lived in Weimar and Rochlitz shook -his head. "Then you do not know the great Goethe?" Rochlitz nodded -violently in affirmation that he did know the great Goethe. "I do, too; -I got acquainted with him in Carlsbad--God knows how long ago!" (But it -was not in Carlsbad that Beethoven met Goethe; it was in Teplitz and -ten years "ago.") Beethoven continued: "I was not so deaf then as I am -now, but hard of hearing. How patient the great man was with me!... -How happy he made me then! I would have gone to my death for him; yes, -ten times! It was while I was in the ardor of this enthusiasm that I -thought out my music to his 'Egmont'--and it is a success, isn't it?" A -success, surely; but Beethoven is not likely to have forgotten that the -music to "Egmont" was two years old when he met Goethe. Rochlitz, it is -to be feared, is indulging his imagination again; but he is probably -correct on the whole. Let Beethoven proceed with his monologue: - - Since that summer I read Goethe every day, when I read at all. He - has killed Klopstock for me. You are surprised? Now you smile? Aha! - You smile that I should have read Klopstock! I gave myself up to - him many years,--when I took my walks and at other times. Ah well! - I didn't understand him always. He is so restless; and he always - begins too far away, from on high down; always _Maestoso_, D-flat - major! Isn't it so? But he's great, nevertheless, and uplifts the - soul. When I did not understand I divined pretty nearly. But why - should he always want to die? That will come soon enough. Well; at - least he always sounds well, etc. But Goethe:--he lives and wants - us all to live with him. That's the reason he can be composed. - Nobody else can be so easily composed as he. - -Rochlitz had sought Beethoven with a commission from Haertel:--that he -compose music for Goethe's "Faust" like that written for "Egmont." The -psychological moment for broaching the subject was arrived and Rochlitz -made the communication on the tablet. - - He read. "Ha!" he cried, and threw his hands high in the air. "That - would be a piece of work! Something might come out of that!" He - continued for a while in this manner, elaborating his ideas at once - and with bowed head staring at the ceiling. "But," he continued, - after a while, "I have been occupied for a considerable time with - three other big works; much of them is already hatched out--i. e., - in my head. I must rid myself of them first; two large symphonies - differing from each other, and an oratorio. They will take a long - time; for, you see, for some time I can't bring myself to write - easily. I sit and think, and think. The ideas are there, but they - will not go down on the paper. I dread the beginning of great - works; once begun, it's all right." - -Most of this is in harmony with what we know from other sources. We -have seen how laboriously Beethoven developed the works of large -dimensions in this period; we know that he had thought of "Faust" as a -subject for composition as early as 1808[62] and that it pursued him -in his last years. But Haertel's proposition sent through Greisinger -in the same year was for an opera, and it seems likely that the -"Faust" idea was independent of it and possibly an original conceit of -Rochlitz's. Be that as it may, Rochlitz did make one proposition in -which his interest was personal. After his return to Leipsic he wrote -a letter to Haslinger on September 10, 1822, in which he expressed -the wish that Beethoven would give a musical setting to his poem "Der -erste Ton," and, if Schindler is correct, he suggested to Beethoven -himself that he write music for his "Preis der Tonkunst." Nothing came -of the suggestions, though it would appear that Rochlitz had discussed -both poems with Beethoven. There was a third meeting at which the -two, in company with another friend of Beethoven's (Rochlitz says it -was Gebauer), made a promenade through a valley which lasted from ten -o'clock in the forenoon till six o'clock in the evening. Beethoven -enlivened the walk with conversation full of tirades against existing -conditions, humorous anecdotes and drolleries. "In all seriousness, -he seems amiable, or, if this word startle you, I say: The gloomy, -unlicked bear is so winning and confiding, growls and shakes his hairy -coat so harmlessly and curiously, that it is delightful, and one could -not help liking him even if he were but a bear and had done nothing but -what a bear can do." - -[Sidenote: BEETHOVEN'S OPINION OF ROSSINI] - -The meeting between Rochlitz and Beethoven took place in Baden; but -as we have seen, the latter did not begin his sojourn there until -September 1, and Rochlitz's letter is dated July 9; so it would appear -that Beethoven had come from Oberdoebling on a visit to Baden; Schindler -says nothing to the contrary. Earlier in 1822 Beethoven received a -visit from a man who lies considerably nearer the sympathies of the -generation for which this book is written than Rochlitz. This man was -Rossini. His operas had been on the current list in Vienna for several -years, and with the coming of the composer in person, in the spring of -1822, the enthusiasm for him and his music had grown into a fanatical -adoration. Beethoven had seen the score of "Il Barbiere" and heard it -sung by the best Italian singers of the period. Moreover, he had a -high admiration for the Italian art of song and a very poor opinion of -German singers. In Barbaja's troupe were Lablache, Rubini, Donzelli and -Ambroggio, and the Demoiselles Sontag, Ungher, Lalande and Dardanelli. -Rossini was on his wedding trip, having but recently married Colbran, -and his elegant manners and brilliant conversation had made him the -lion of aristocratic drawing-rooms in the Austrian capital. "Zelmira" -had been written especially for the Vienna season, though it had been -tried at the Teatro San Carlo in Naples in the preceding December. -It had its first performance at the Kaernthnerthor Theatre on April -13.[63] Several of Beethoven's utterances concerning the musician, -who no doubt did much to divert the taste of the masses away from the -German master's compositions, have been preserved. Seyfried recorded -that in answer to the question. "What is Rossini?" Beethoven replied, -"A good scene-painter," and Seyfried also makes note of this utterance: -"The Bohemians are born musicians; the Italians ought to take them as -models. What have they to show for their famous conservatories? Behold -their idol--Rossini! If Dame Fortune had not given him a pretty talent -and pretty melodies by the bushel, what he learned at school would -have brought him nothing but potatoes for his big belly!" Schindler -says that after reading the score of "Il Barbiere" Beethoven said: -"Rossini would have been a great composer if his teacher had frequently -applied some blows _ad posteriora_." To Freudenberg at Baden in 1824 -he remarked: "Rossini is a talented and a melodious composer; his -music suits the frivolous and sensuous spirit of the times, and his -productivity is so great that he needs only as many weeks as the -Germans need years to write an opera." - -The Rossini craze was no doubt largely responsible for some of -Beethoven's outbreaks concerning the taste of the Viennese, but on -the whole he does not seem seriously to have been disturbed by it. -Schindler cites him as remarking on the change in the popular attitude: -"Well, they can not rob me of my place in musical history." As for the -Italian singers he thought so much of them that he told Caroline Ungher -that he would write an Italian opera for Barbaja's company. - -As for Rossini, he had heard some of Beethoven's quartets played by -Mayseder and his associates, and had enjoyed them enthusiastically. It -was therefore natural enough that he should want to visit the composer. -Schindler says that he went twice with Artaria to call upon him, after -Artaria had each time asked permission, but that on both occasions -Beethoven had asked to be excused from receiving him--a circumstance -which had given rise to considerable comment in Vienna. The story -is not true, but that it was current in Vienna four years afterward -appears from an entry in a Conversation Book of August 1826 where -somebody asks: "It is true, isn't it, that Rossini wanted to visit you -and you refused to see him?" There is no written answer. We repeat: -the story is not true, though both Nohl and Wasielewski accepted it -without demur. Twice, at least, Rossini publicly denied it. In 1867 Dr. -Eduard Hanslick visited him with two friends in Paris. Concerning the -interview, Hanslick wrote:[64] - - Suddenly, as if he intentionally wanted to call attention to - something loftier, he asked if the Mozart monument at Vienna - was finished? And Beethoven's? We three Austrians looked rather - embarrassed. "I remember Beethoven well," continued Rossini after - a pause, "although it is nearly half a century ago. On my visit to - Vienna I hastened to look him up." - - "And he did not receive you, as Schindler and other biographers - assure us." - - "On the contrary," said Rossini, correcting me: "I had Carpani, the - Italian poet with whom I had already called upon Salieri, introduce - me, and he received me at once and very politely. True, the visit - did not last very long, for conversation with Beethoven was nothing - less than painful. His hearing was particularly bad on that day - and in spite of my loudest shoutings he could not understand me; - his little practice in Italian may have made conversation more - difficult." - -This confirms what Rossini told Ferdinand Hiller in 1856:[65] - - During my sojourn in Vienna I had myself introduced to him by old - Calpani [_sic_]; but between his deafness and my ignorance of - German, conversation was impossible. But I am glad that I saw him, - at least. - -[Sidenote: ALLEGED MEETING OF BEETHOVEN AND SCHUBERT] - -Quite as inaccurate is a statement of Schindler's touching a meeting -between Schubert and Beethoven in this year. Schindler's story is to -the effect that Schubert, accompanied by Diabelli, went to Beethoven -and handed him the variations for pianoforte, four hands, which he had -dedicated to him; but that Schubert was so overwhelmed at the majestic -appearance of Beethoven that his courage oozed away and he was scarcely -able to write the answers to the questions which were put to him. -At length, when Beethoven pointed out a trifling error in harmony, -remarking that it was "not a mortal sin," Schubert lost control of -himself completely, regained his composure only after he had left the -house, and never again had courage enough to appear in Beethoven's -presence. As opposed to this, Heinrich von Kreissle, Schubert's -biographer, adduces the testimony of Joseph Huettenbrenner, a close -friend of Schubert's, who had it from the song composer himself that -he had gone to Beethoven's house with the variations, but the great -man was not at home and the variations were left with the servant. -He had neither seen Beethoven nor spoken with him, but learned with -delight afterwards that Beethoven had been pleased with the variations -and often played them with his nephew Karl. Now, had Schindler been an -eyewitness of the scene which he describes, he would have mentioned the -fact; but he was not yet living with Beethoven. - -While in Baden, Beethoven began the work which was to call him -back into public notice. This was the music for the opening of the -Josephstadt Theatre, which the director of the theatre, Carl Friedrich -Hensler, director also of the combined theatres of Pressburg and Baden, -asked of him immediately after his arrival at the watering-place. -Hensler (1761-1825) was a popular dramatist as well as manager and an -old acquaintance of Beethoven's, by whom he was greatly respected. -He had bought the privilege of the Josephstadt Theatre in Vienna. -Carl Meisl, who was a Commissioner of the Royal Imperial Navy, had -written two festival pieces for the opening, which had been set down -for October 3, 1822, the name-day of the Emperor. The first piece was -a paraphrase of Kotzebue's "Ruins of Athens," written for the opening -of the theatre in Pesth in 1812, for which Beethoven had composed the -music. Meisl took Kotzebue's text and made such alterations in it as -were necessary to change "The Ruins of Athens" into "The Consecration -of the House." Nottebohm's reprint in "Zweite Beethoveniana" (p. 385 -_et seq._) enables a comparison to be made with the piece as it left -the hands of Meisl and the original. The new words did not always fit -the music and caused Beethoven considerable concern. A choral dance: - - Wo sich die Pulse - jugendlich jagen, - Schwebet im Tanze - das Leben dahin, etc. - -was introduced and to this Beethoven had to write new music, which -he did in September. He also revised, altered and extended the march -with chorus.[66] Beethoven wrote a new overture also, that known as -"Consecration of the House," putting aside the overture to "The Ruins -of Athens" because that play had served as a second piece, or epilogue, -at Pesth. Schindler says he began work on this occasional music in -July, after the last touches had been given to the Mass; but progress -was not as rapid as was desirable because of the extreme hot weather. -He also says it was in Baden and that he was there with him. The -letters to Johann show, however, that Beethoven did not go to Baden -till September 1, having before that been in Oberdoebling. But he wrote -the new pieces in Baden. On a revised copy of the chorus "Wo sich die -Pulse" Beethoven wrote: "Written towards the end of September, 1823, -performed on October 3 at the Josephstadt Theatre." The 1823 should be -1822, of course, but singularly enough the same blunder was made on a -copy of the overture and another composition, the "Gratulatory Minuet," -which was written about the same time. The explanation is probably -that offered by Nottebohm, viz.: that Beethoven dated the copies -when he sent them to the Archduke. Beethoven's remark in a letter to -Johann that he had finished the chorus with dances and would write the -overture if his health allowed, also fixes the date of the composition -of the overture in September. This Schindler, though in error about the -work done in July, confirms in this anecdote about the origin of the -overture: - - Meanwhile September was come. It was therefore time to go to work - on the new overture, for the master had long ago seen that that - to "The Ruins of Athens" was for obvious reasons unsuitable. One - day, while I was walking with him and his nephew in the lovely - Helenenthal near Baden, Beethoven told us to go on in advance and - join him at an appointed place. It was not long before he overtook - us, remarking that he had written down two motives for an overture. - At the same time he expressed himself also as to the manner in - which he purposed treating them--one in the free style and one - in the strict, and, indeed, in Handel's. As well as his voice - permitted he sang the two motives and then asked us which we liked - the better. This shows the roseate mood into which for the moment - he was thrown by the discovery of two gems for which, perhaps, he - had been hunting a long time. The nephew decided in favor of both, - while I expressed a desire to see the fugal theme worked out for - the purpose mentioned. It is not to be understood that Beethoven - wrote the overture "Zur Weihe des Hauses" as he did because I - wanted it so, but because he had long cherished the plan to write - an overture in the strict, expressly in the Handelian, style. - -The overture was written. "The newly organized orchestra of the -Josephstadt Theatre did not receive it till the afternoon before the -opening, and with innumerable mistakes in every part. The rehearsal -which took place in the presence of an almost filled parterre, scarcely -sufficed for the correction of the worst of the copyist's errors." The -overture and chorus written for "The Consecration of the House" are -"occasionals" and were conceived and wrought out in a remarkably short -time for that period in Beethoven's activities. The first was offered -for publication to Steiner and, with other pieces, to Diabelli. The -negotiations failed and the overture finally appeared from the press of -Schott in 1825, with a dedication to Prince Galitzin. - -[Sidenote: OPENING OF THE JOSEPHSTADT THEATRE] - -The performance of "The Consecration of the House" took place as -projected, on October 3, the eve of the Emperor's name-day. All of -the 400 reserved seats and 14 boxes had been sold several weeks -before. Beethoven had reserved the direction for himself and sat at -the pianoforte, the greater part of the orchestra within view, his -left ear turned towards the stage. He was still able to hear a little -with that ear, as we know from the fact related by Schindler, that he -was fond of listening to Cherubini's overture to "Medea" played by a -musical clock which stood in a restaurant adjoining the Josephstadt -Theatre. Chapelmaster Franz Glaeser stood at his right, and Schindler, -who had recently abandoned the law, led the first violins. At the -dress rehearsal Fanny Heckermann sang timidly and dragged perceptibly -in the duet. Beethoven observed this and called the singer to him, -pointed out the places in which he wanted more animation, spoke some -words of encouragement and advised her to follow the tenor, who was -an experienced singer. He then had the number repeated and on its -conclusion remarked: "Well done, this time, Fraeulein Heckermann!" The -tenor was Michael Greiner, with whom Beethoven was acquainted, from -Baden, and Fraeulein Kaiser sang the part of _Pallas_. The rehearsal -and the performance demonstrated plainly, Schindler says, that under -no circumstances was Beethoven able longer to conduct large bodies -of performers. The representation, despite the enthusiasm of the -performers, stimulated by Beethoven's encouraging speeches, was -not a success. Beethoven would take none of the fault to himself, -however, though his anxiety led him to hold back the music despite -the exertions of his two leaders, whom he admonished against too much -precipitancy, of which Schindler protests they were not guilty. There -were demonstrations of enthusiasm at the close and Beethoven was led -before the curtain by Director Hensler. The work was repeated on -October 4, 5 and 6. Beethoven's friendly feeling for Hensler gave rise -to a new orchestral composition a few weeks later. The members of the -company paid a tribute to their director on his name-day, November 3. -After a performance of Meisl's drama "1722, 1822, 1922," the audience -having departed, the director was called to the festively decorated -and illuminated stage, and surrounded by his company in gala dress. -A poetical address was read to him by the stage-manager. After he -had gone back to his lodgings, the orchestra and chorus serenaded -him, the programme consisting of an overture to "The Prodigal Son" by -Chapelmaster Drechsel, a concerto for flute by Chapelmaster Glaeser, -and what Baeuerle's "Theaterzeitung" called "a glorious new symphony" -composed for the occasion by Beethoven, the whole ending with the -march and chorus from Mozart's "Titus." The "new symphony" was the -"Gratulatory Minuet" of which mention has been made. Nothing is said -in the accounts about Beethoven's presence at the serenade, and as -"Fidelio" was performed that night at the Kaernthnerthor Theatre, his -absence might easily be explained. On the next day[67] Hensler gave a -dinner in the property-room of the theatre at 3 p.m. Beethoven, Glaeser, -Baeuerle, Gleich, Meisl, Hopp and others were present. Beethoven had -a seat directly under the musical clock. Glaeser told Reubl (Reichl?) -who provided the entertainment to set the clock to the overture to -"Fidelio" and then wrote to Beethoven to listen, as he would soon hear -it. Beethoven listened and then said: "It plays it better than the -orchestra in the Kaernthnerthor." - -The "Gratulatory Minuet" was offered to Peters in the letter of -December 20. Beethoven was evidently eager to realize quickly on a work -which had cost him but little labor--the product of a period in which -his fancy seemed to have regained its old-time fecundity and he his -old-time delight in work. He offered it elsewhere and gave a copy (the -one that he misdated) to Archduke Rudolph for his collection. Artaria -published it in 1835 under the title "Allegretto (Gratulations-Menuet)" -with a dedication to Carl Holz. The title on the autograph reads: -"Tempo di Minuetto quasi Allegretto." "Allegro non troppo" was -originally written but was scratched out and "Gratulations-Menuet" -written in its place. - -[Sidenote: UNABLE TO CONDUCT "FIDELIO"] - -Beethoven's absence from the complimentary function to Hensler in -the theatre may be explained by the revival of "Fidelio" which took -place on the same night, November 3, after an absence from the stage -of three years (not eight, as Schindler says), though we do not know -that he was present. It was a benefit performance for Wilhelmine -Schroeder, then 17 years old, afterwards the famous dramatic singer -Madame Schroeder-Devrient. Haitzinger sang _Florestan_, Zeltner _Rocco_, -Forti _Pizarro_. Rauscher _Jaquino_, Nestroy _the Minister_, Fraeulein -Demmer _Marcelline_ and Fraeulein Schroeder _Leonore_. Schindler tells -a pathetic tale concerning the dress rehearsal. Together with his -friends, mindful of the happenings in the Hall of the University -in 1819 and in the Josephstadt Theatre only a short time before, -Schindler advised Beethoven not to attempt to conduct the performance. -He hesitated for a few days, then announced his intention to direct -with the help of Umlauf. Schindler escorted him to the rehearsal. The -overture went well, the orchestra being well trained in it, but at the -first duet it became painfully manifest that Beethoven heard nothing -of what was going on on the stage. He slackened his beat and the -orchestra obeyed; the singers urged the movement onward. Umlauf stopped -the performance at the rappings on the jailor's lodge-gate but gave no -reason to Beethoven. At the same place on the repetition there was the -same confusion. Let Schindler continue the narrative, the correctness -of which there seems to be no reason to question: - - The impossibility of going ahead with the author of the work - was evident. But how, in what manner inform him of the fact? - Neither Duport, the director, nor Umlauf was willing to speak - the saddening words: "It will not do; go away, you unhappy man!" - Beethoven, already uneasy in his seat, turned now to the right - now to the left, scrutinizing the faces to learn the cause of the - interruption. Everywhere silence. I had approached near him in - the orchestra. He banded me his note-book with an indication that - I write what the trouble was. Hastily I wrote in effect: "Please - do not go on; more at home." With a bound he was in the parterre - and said merely: "Out, quick!" Without stopping he ran towards his - lodgings, Pfarrgasse, Vorstadt Leimgrube. Inside he threw himself - on the sofa, covered his face with his hands and remained in this - attitude till we sat down to eat. During the meal not a word - came from his lips; he was a picture of profound melancholy and - depression. When I tried to go away after the meal he begged me not - to leave him until it was time to go to the theatre. At parting he - asked me to go with him next day to his physician, Dr. Smetana, - who had gained some repute as an aurist. - -Some details of the representation may be learned from the account in -the "Theaterzeitung" of November 9. The day was the name-day of the -Empress; the square about the Opera-house was illuminated; the national -hymn, "Gott erhalte Franz den Kaiser," was sung; the overture received -such applause that it had to be repeated; the great duet and the canon -quartet also, and the soprano and tenor were recalled at the end of the -opera. Was Beethoven present? The question cannot be answered. Alfred -von Wolzogen in his biography of Wilhelmine Schroeder-Devrient quotes -from Claire von Gluemer, who had access to the singer's notes, in his -account of the affair. The incident of the rehearsal is told with a -variation which strengthens Schindler's narrative. At the performance, -Claire von Gluemer says, Beethoven sat behind the chapelmaster in the -orchestra so deeply wrapped in his cloak that only his gleaming eyes -were visible. The youthful prima donna was unspeakably alarmed, but -scarcely had she uttered her first words than she felt her whole body -infused with marvellous power. Beethoven--the public--everything -vanished from view. She forgot that she had studied the role--she was -transformed into _Leonore_--she lived, she suffered the part, scene -after scene. Beethoven, the story proceeds, though he had heard not a -word but had observed the soul of her singing in her transfigured face, -had recognized his _Leonore_ in her. - - After the performance he went to her; his usually threatening - eyes smiled upon her, he patted her cheeks, thanked her for her - _Fidelio_ and promised to compose a new opera for her--a promise - which, unfortunately was never fulfilled. Wilhelmine never met the - master again, but of all the evidences of homage paid to the famous - woman in later years her most precious recollection were the words - of appreciation which Beethoven spoke to her. - -The tale is amiable, and plausible enough; standing alone there -would seem to be no ground for doubting its correctness. But there -are circumstances which give our credence pause. Schindler, who was -Beethoven's constant companion in those days, who presents the story -of the rehearsal so convincingly, and who waited until it was time -to go to the theatre, says not a word about Beethoven's presence at -the representation. Would he, after suffering such a heartbreaking -humiliation at the rehearsal, have gone to the theatre and taken a -conspicuous place in the orchestra? It does not seem likely. Moreover, -in a letter published in the "Neue Berliner Musikzeitung" of July 30, -1851, Schindler, discussing an impersonation of _Fidelio_ by Frau -Koester-Schlegel in Frankfort, says: "It may be remarked in passing -that Beethoven never saw Schroeder-Devrient as _Fidelio_, but was -dissatisfied with her conception of the character as he had learned -to know it from the public prints and oral communications. His ideal -was not an operatic heroine, etc." This would seem to be conclusive, -were there not evidence that Schindler's memory had played him false -again. "Fidelio" was repeated on November 4, and also on November -26 and December 17, 1822, and March 3 and 18, 1823, and Baeuerle's -"Theaterzeitung" distinctly states that "Beethoven attended the second -performance, sitting in a box in the first tier." Moreover, Louis -Schloesser, who was at this performance, adds confirmation by telling -how he saw Beethoven leaving the theatre in the company of Schindler -and von Breuning. Beethoven may not have been able to form an opinion -of a performance which he could not hear, but the testimony of -Schindler that he never saw Schroeder-Devrient in the role of _Fidelio_ -is greatly weakened by this proved fact. But would he have made such a -statement if Beethoven had been present at the first performance and -paid so spectacular a tribute to the singer? It is easier to imagine -that Schindler's memory was treacherous concerning a later performance. -At best, the evidence is inconclusive, because contradictory. In -March, 1823, Chapelmaster Reuling remarks in a Conversation Book: "I -saw you in the theatre at the first performance of 'Fidelio'." Did -he mean the first performance in November, 1822, or the first of the -two performances in the month in which he was writing--March, 1823? -Schroeder-Devrient in her prime is reputed to have been the greatest of -all _Fidelios_; but she did not reach her full artistic stature until -after Beethoven's death. - -[Sidenote: TREATMENT FOR DEAFNESS RESUMED] - -Following Schindler's narrative we learn that Beethoven's woeful -experience at the rehearsal led to a resolution on his part to make -another effort to be healed of his deafness. He went to Dr. Smetana, -who prescribed medicaments to be taken inwardly, thereby indicating, -as Schindler asserts, that he had no expectation of effecting a cure, -but wanted only to occupy Beethoven's mind, knowing what to expect -from so impatient, wilful and absent-minded a patient; for Beethoven -was as unready to follow a physician's advice as a musician's, and was -more likely to injure himself with overdoses of drugs than to invite -the benefit which the practitioner hoped for by obedience to the -prescription. The usual thing happened; not only with Dr. Smetana's -treatment, but also with that of the priest, Pater Weiss, whom he had -consulted some 18 years before and to whom he now returned. For a -while he thought that the oil which the priest dropped into his ears -was beneficial, and Pater Weiss himself expressed the belief that -the left ear, at least, might permanently be helped; but Beethoven -grew skeptical, as he always did unless he experienced immediate -relief, his work monopolized his attention, and despite the priest's -solicitations he abandoned the treatment and yielded himself to his -fate. Thenceforward no one heard him lament because of his deafness. - -The compositions which were in Beethoven's hands at the close of the -year were those which had occupied him in the earlier months. The Mass, -several times completed but never complete so long as it was within -reach, received what must now be looked upon as its finishing touches; -progress was made on the Ninth Symphony and thought given to a quartet, -perhaps several quartets. The Bagatelles for Pianoforte grouped under -Op. 119, some of which had been published a year before (Nos. 7-11), -were finished; Nos. 1 to 6 were ready for the publisher by the end of -1822--the autograph manuscript bearing the inscription "Kleinigkeiten, -1822 Novemb." Nottebohm thinks that Nos. 2 to 5 were conceived between -1800 and 1804; a sketch for No. 5 (C minor, _Risoluto_) is found among -sketches made in 1802 for the Sonata in C minor Op. 30; Lenz says -sketches for No. 3 (in D, _a l'Allemande_) are among sketches for the -last movement of the "Eroica" Symphony; No. 6 (G major) is sketched on -a sheet containing experimental studies for a passage in the _Credo_ of -the Mass; sketches for Nos. 2 and 4 are among suggestions of a melody -for Goethe's "Erlkoenig," indicating an early period which cannot be -determined. Of Nos. 7-11, enough has been said in a previous chapter. -The piece published as No. 12 and added to the set by Diabelli after -Beethoven's death was originally a song with pianoforte accompaniment -and had its origin in 1800 at the latest. Whether or not Beethoven made -the pianoforte piece out of the projected song, on which point nothing -of significance can be said, it is certain that it does not belong to -the set, which consists of 11 numbers only in the old editions and in -the manuscripts of the Rudolphinian Collection. - -Beethoven offered a number of Bagatelles to Peters--at first four, -then a larger number; he sent six to the publisher on February 15, -1823. Peters returned them--Beethoven receiving them on March 19--with -the remark that they were not worth the price asked for them and -that Beethoven ought to consider it beneath his dignity to waste his -time on such trifles; anybody could write them. Schindler says that -Peters's action aggrieved Beethoven, which is easily believed; but -Schindler confounded the Bagatelles Op. 119 with the set, Op. 126, -works of distinctly a higher order which were not composed at the time. -On February 25, 1823, Beethoven sent 11 Bagatelles to Ries in London -with instructions to sell them as best he could. Naturally, Op. 119 is -meant. On May 7, 1823, six were offered to Lissner in St. Petersburg. -Schlesinger published the set in Paris at the end of 1823, as Op. 112, -and Sauer and Leidesdorf issued them almost simultaneously in Vienna -with the same opus number. The number 119 appears to have been assigned -to the set after an agreement had been reached with Steiner concerning -the works now numbered 112 to 118. The last known song by Beethoven, -"Der Kuss," was finished at this time, though written down practically -as we know it in 1798. Sketches involving the few changes made are -found among some for the overture "The Consecration of the House" -and the Ninth Symphony. The autograph is dated "December, 1822." It -was sent to Peters, who did not print it; in 1825 it was sent to the -Schotts, numbered 128, and they published it. - -[Sidenote: GALITZIN AND AN ORATORIO FOR BOSTON] - -In the last weeks of the year a connection was established which -was destined to be of great influence in Beethoven's final creative -activities. Prince Nicolas Boris Galitzin, born in 1795, who as a young -man had taken part in the Napoleonic wars, was an influential factor -in the musical life of St. Petersburg. He played the violoncello, and -his wife (_nee_ Princess Saltykow) was an admirable pianist. Prince -Galitzin was an ardent admirer of Beethoven's music and had arranged -some of the works written for the pianoforte for strings. Whether -or not he had made the personal acquaintance of Beethoven has not -been established, but wanting to have as his private property some -composition by the master whom he revered, he addressed a letter to -Beethoven on November 9, 1822, saying that as a passionate amateur of -music and an admirer of the master's talent he asked him to compose for -him one, two or three string quartets, for which he would be pleased -to pay any sum demanded and that he would accept the dedication of the -works with gratitude. Beethoven's answer, dated January 25, 1823, has -not been found but it is known that he accepted the commission and -fixed the honorarium at 50 ducats each. This is the prologue to the -story of the last Quartets. - -In Charles C. Perkins's "History of the Handel and Haydn Society, of -Boston," Vol. I, p. 87, the author writes: "The most interesting matter -connected with the history of the society in the year 1823 ... is the -fact that Beethoven was commissioned to write an oratorio for it." -The date is obviously wrong; it should be 1822, for in a letter dated -December 20, 1822, as will appear in the next chapter of this work, -Beethoven tells Ries that he has received requests from all parts of -Europe "and even from North America." The historian of the Boston -Society adds: - - That the commission was given is certain, but as it is not - mentioned in the records, Mr. A. W. Thayer is probably right in - thinking that it was given unofficially by Richardson and two or - three other members. In October 1854 Mr. Thayer wrote a letter to - Mr. J. S. Dwight, the well-known editor of the "Musical Journal," - to say that he had questioned Schindler, Beethoven's biographer, - on the subject and had learned from him that in 1823 a Boston - banker, whose name was unknown to him, having occasion to write - to Geymueller, a Viennese banker, had sent an order to the great - musician to compose an oratorio for somebody or some society in - Boston and it was forwarded to its destination.... Wishing to know - the truth about the matter I wrote to Mr. Thayer, then, as now, U. - S. Consul at Trieste, for information, and in reply learned that in - one of Beethoven's note books he had found this passage: "Buehler - writes: 'The oratorio for Boston?' (Beethoven) 'I cannot write what - I should like best to write, but that which the pressing need of - money obliges me to write. This is not saying that I write only for - money. When this period is past I hope to write what for me and for - art is above all--Faust.'" - -The passages cited are from a Conversation Book used in the early -days of April, 1823. In the fall of that year, on November 5, the -"Morgenblatt fuer Gebildete Leser" closed an article on Beethoven with -the words: "A symphony, quartets, a Biblical oratorio, sent to him in -English by the consul of the United States, observe the United States, -and possibly one of Grillparzer's poems, may be expected." - -FOOTNOTES: - -[42] For this arraignment and defence (if defence it be) of Beethoven -the present Editor wishes to assume entire responsibility. Thayer's -notes fail him here, but the indictment, he is convinced, is not only -demanded by historical truth but also wholly within the spirit of -Thayer as manifested in the earlier volumes of this work. Dr. Deiters -makes no effort to conceal the facts, though he does not marshal them -so as to present the moral delinquency in the strong light in which -it appears when Beethoven's words and deeds are brought sharply into -juxtaposition; nevertheless, after presenting a plea in extenuation -fully and fairly, he says: "We pay the tribute of our profoundest -sympathy for Beethoven under these circumstances; we know sufficiently -well the noble impulses of his soul in all other fields; we are aware -of the reasons which compelled him to try everything which promised -to better his condition; but the conscientious reporter cannot ignore -facts which lie notoriously before him, and, hard as it may be, can not -acquit Beethoven of the reproach that his conduct was not in harmony -with the principles of strict justice and uprightness." - -[43] This has been made possible for the editor by the courtesy of -the present representatives of the venerable house in Bonn, viz.: -N. Simrock G. m. b. H. in Berlin, who in 1909 issued a handsome -book containing all the letters which passed between N. Simrock and -Beethoven in a period beginning in 1794 and ending in 1823. Nicolaus -Simrock, the reader may be reminded, was a friend of Beethoven in his -childhood and a colleague in the orchestra at Bonn. - -[44] Youthful works. - -[45] Probably "Primo amore," though it has orchestral accompaniment. - -[46] Composed in 1814 in memory of Baroness Pasqualati. - -[47] The Romances for Violin Op. 40 and 50 having been published long -before, Beethoven must have had another one in mind. - -[48] The Trio for wind-instruments, Op. 87, already in print. Beethoven -had composed variations on "La ci darem" from "Don Giovanni" for -the same instruments and the composition was called a Terzetto when -performed in 1797. This was probably in his mind. - -[49] The last three sonatas as we know them being out of the question, -Beethoven must have thought himself in readiness to write another if it -was desired; there was no lack of material in his sketchbooks. - -[50] Degen was a popular aeronaut who had long before excited the -interest of Beethoven. - -[51] Evidences of the second mass may be found in Nottebohm's "Zweit. -Beeth.," pages 152 and 541-543. - -[52] Beethoven indulges in his propensity for puns: "Waere mein Gehalt -nicht ganz ohne Gehalt." - -[53] A composition written for a serenade given to Hensler, Director of -the Josephstaedter Theatre, as will appear later. - -[54] Nottebohm says that the three songs were "Opferlied," "Bundeslied" -and "Der Kuss." Peters published none of them. The first appeared as -Op. 121, the second as Op. 122, the third as Op. 128, published by -Schott and Sons in 1825. This was the firm which eventually got the -Mass in D. - -[55] In a note to Thayer. - -[56] No. 34 in Portfolio I of the Schindler papers in Berlin is a note -as follows: "Mr. v. Schindler of course must not be mentioned in the -presence (or by) the two persons, but I, certainly." To this Schindler -attached the following explanation: "The above lines were addressed to -Police Commissioner Ungermann as an appendix to a detailed report to -him. The commissioner was requested by official or other means to help -him induce his brother to watch over the moral conduct of his wife, or -to have it overseen by others, since her excesses had reached a pass -which already subjected her and her husband to public censure. But the -efforts of Beethoven and the public official were fruitless because his -brother could not be persuaded to take energetic action. The excesses -of the licentious woman grew greater from year to year until they led, -in 1823, to open scandal in the barracks where Madame van Beethoven had -visited her lovers (officers), with whom she was seen on the public -promenades. Then our Beethoven took energetic steps with his brother, -trying to persuade him to divorce his vicious wife, but made shipwreck -on the indolence of this man, who was himself morally depraved." - -[57] Here, as in a former case, the editor of this English edition is -seeking to reproduce the spirit of Thayer, who was so eager to undo -some of the injustice which had been visited upon Beethoven's brothers -Karl and Johann that he undertook their defense in a brochure entitled -"Ein kritischer Beitrag zur Beethovenliteratur," published in Berlin in -1877. He also spoke with emphasis on the subject in a review of Nohl's -biography of Beethoven which he contributed to the "New York Tribune" -in the spring of 1881. - -[58] "King Stephen" and "The Ruins of Athens." - -[59] 300 florins. - -[60] Which he had adapted to "Die Weihe des Hauses." - -[61] "Wo sich die Pulse," which Beethoven inscribed as having been -written "Towards the end of September." - -[62] Nohl, II, 50. - -[63] Archduke Rudolph wrote variations on one of the melodies from the -opera, which Beethoven corrected. - -[64] In an article in the "Neue Freie Presse" of July 21, 1867, -reprinted in "Aus dem Concertsaal," page 594. - -[65] "Aus dem Tonleben, etc.," II, 49. - -[66] Published as Op. 114, and designated as "new" by Beethoven, though -not a measure had been added, but only a few lines of text, and the -choral music simplified. Steiner published pianoforte arrangements for -two and four hands in 1822, and the score in 1824. - -[67] This anecdote was told to Thayer on October 28, 1859 by an old -actor named Hopp who was present on the occasion. - - - - -Chapter IV - - The Solemn Mass in D--A Royal Subscription--More Negotiations with - England--Opera Projects--Grillparzer's "Melusine"--The Diabelli - Variations--Summer Visitors--An Englishman's Account--Weber and - Julius Benedict--Ries and the Ninth Symphony--Franz Liszt and - Beethoven's Kiss--The Year 1823. - - -When the year 1823 opens, the Mass in D is supposedly finished and -negotiations for its publication have been carried on in a manner the -contemplation of which must affect even the casual reader grievously. -The work had been originally intended for the functions attending the -installation of Archduke Rudolph as Archbishop of Olmuetz--not merely -as a personal tribute to the imperial, archepiscopal pupil, but for -actual performance at the ceremony of inthronization--a fact which -ought to be borne in mind during its study, for it throws light upon -Beethoven's attitude towards the Catholic Church (at least so far as -that church's rubrics are concerned) as well as towards religion in -general and art as its handmaiden and mistress. Archduke Rudolph had -been chosen Cardinal on April 24, 1819, and Archbishop on June 4 of -the same year; he was installed as head of the see of Olmuetz on March -20, 1820; but the fact of his selection for the dignities was known in -Vienna amongst his friends as early as the middle of 1818. When the -story of the year 1823 opens, therefore, Beethoven's plan is nearly -five years old and Archduke Rudolph has been archbishop nearly a year. -We first hear of the Mass this year in a letter dated February 27, when -Beethoven apologizes to his august pupil for not having waited upon -him. He had delayed his visit, he said, because he wanted to send him a -copy of the Mass; but this had been held back by corrections and other -circumstances. Accompanying the letter were the copies of the overture -to "The Consecration of the House" and the "Gratulatory Minuet." -Finally, on March 19, 1823, on the very eve of the first anniversary of -the installation, Beethoven placed a manuscript copy of the Mass in -the Archduke's hands. In the catalogue of the Rudolphinian Collection, -now preserved by the Gesellschaft der Musikfreunde in Vienna, it is -entered thus: "_Missa Solemnis_. Partitur. MS. This beautifully written -MS. was delivered by the composer himself on March 19, 1823." - -The plan to write the Mass for the installation ceremonies seems to -have been original with Beethoven; it was not suggested by the Archduke -or any of his friends, so far as has ever been learned. He began work -upon it at once, for Schindler says he saw the beginning of the score -in the fall of 1818. Nottebohm's study of all the sketches which -have been discovered (save a number now preserved in the Beethoven -House in Bonn which do not add materially to our knowledge) led him -to conclusions which may be summed up as follows: The movements were -taken up in the order in which the various portions of the text appear -in the Roman missal, but work was prosecuted on several movements -simultaneously. The _Kyrie_ was begun at the earliest in the middle -of 1818, i. e., shortly after the fact of the Archduke's appointment -became known; the _Gloria_ was completely sketched by the end of 1819, -the _Credo_ in 1820; the entire Mass was complete in sketch-form in -the beginning of 1822. While sketching the Mass Beethoven composed the -Pianoforte Sonatas, Op. 109, 110 and 111, the Variations, Op. 107, No. -8, and several other small pieces, including the canons "O, Tobias," -"Gehabt euch wohl," "Tugend ist kein leerer Name," and "Gedenkt heute -an Baden." But with the elaboration of the sketches the Mass was not -really finished, for subsequently Beethoven undertook many changes. -The _Allegro molto_ which enters in the _Credo_ at the words _et -ascendit_ is shorter in the autograph than in the printed edition. At -the entrance of the words _et iterum_ and _cujus regni_ the autograph -is in each case two measures shorter than in the printed score. In the -autograph, and also in the copy which Beethoven gave to the Archduke, -the trombones do not enter till the words _judicare vivos et mortuos_. -There are no trombones in the _Gloria_. The trombone passage which -now appears just before the entrance of the chorus on _judicare_ was -formerly set for the horns. After the words _et mortuos_ the trombones -are silent till the end of the _Credo_ in the autograph; they enter -again in the beginning of the _Sanctus_, but are silent at the next -_Allegro_. They occur in the _Benedictus_, but are wanting in the -_Agnus Dei_. From the nature of these supplementary alterations it is -to be concluded that considerable time must have elapsed before they -could all be made and the Mass be given the shape in which we know it. -Holding to the date on which the copy was delivered to the Archduke -(March 19, 1823), the earliest date at which the Mass can have received -its definitive shape must be set down as the middle of 1823. Beethoven, -therefore, devoted about five years to its composition. He made so many -changes in the tympani part of the _Agnus Dei_ that he wore a hole in -the very thick paper, his aim being, apparently, by means of a vague -rhythm to suggest the distance of the disturbers of the peace. That -he was sincere in his purpose to provide a mass for the installation -ceremonies is to be found, outside of Schindler's statement, in a -letter to the Archduke written in 1819, in which he says: - - The day on which a high mass of my composition is performed at the - ceremony for Y. I. H. will be to me the most beautiful in my life - and God will enlighten me so that my poor powers may contribute to - the glory of this solemn day. - -[Sidenote: BEETHOVEN AND RELIGION] - -Something was said, in the conclusion of the chapter of this biography -devoted to a review of the incidents of the years 1807 to 1809, -concerning the views Beethoven entertained on the subject of religion -and dogmatic and sectarian Christianity. His attitude towards the Roman -Catholic Church becomes an almost necessary subject of contemplation in -a study of the Solemn Mass in D; but it is one into which the personal -equation of the student must perforce largely enter. The obedient -churchman of a Roman Catholic country will attach both less and more -importance, than one brought up in a Protestant land, to the fact that -he admonished his nephew when a lad to say his prayers and said them -with him (as the boy testified in the guardianship proceedings), that -he himself at least once led him to the door of the confessional,[68] -that he consented to the summoning of a priest when _in extremis_ -and that he seemed to derive comfort and edification from the sacred -function. It is not necessary, however, to go very deeply into a -critical study of the Mass in order to say that while the composition -shows respect for traditions in some portions and while it is possible -to become eloquent without going beyond the demonstration contained -in the music itself, in describing the overwhelming puissance of -his proclamation of the fatherhood of God and belief in Him as the -Creator of all things visible and invisible, the most obvious fact -which confronts the analytical student is that Beethoven approached -the missal text chiefly with the imagination and the emotions of an -artist, and that its poetical, not to say dramatic elements were those -which he was most eager to delineate.[69] One proof of this is found in -what may be called the technical history of the Mass, and is therefore -pertinent here. It was scarcely necessary for Beethoven to do so, but -he has nevertheless given us an explanation of his singular treatment -of the prayer for peace. Among the sketches for the movement is found -the remark: "_dona nobis pacem_ darstellend den _innern_ und aeussern -Frieden" ("delineating internal and external peace"), and in agreement -with this he superscribes the first _Allegro vivace_ in the autograph -with the same words. In the later copy this phrase is changed to -"Prayer for internal and external peace," thus showing an appreciation -of the fact that the words alone contain the allusion to peace which in -its external aspect is disturbed by the sounds of war suggested by the -instruments. The petition for peace is emphasized by the threatening -tones of military instruments accompanying the agonizing appeal for -mercy sent up by the voices. The device is purely dramatic and it was -not an entirely novel conceit of Beethoven's. When the French invaded -Styria in 1796, Haydn wrote a mass "In tempore belli" in which a soft -drum-roll entered immediately after the words "Agnus Dei" and was -gradually reinforced by trumpets and other wind-instruments "as if the -enemy were heard approaching in the distance." - -Whence came the plan of postponing the publication of the mass for -a period in order to sell manuscript copies of it by subscription -to the sovereigns of Europe does not appear. Beethoven had it under -consideration at the beginning of 1823, for the year was only a week -old when he sent his brother Johann with a letter to Griesinger of the -Saxon Legation asking him to give advice on the subject to the bearer -of the letter, apologizing for not coming in person on the ground -of indisposition. Whether or not Griesinger came to his assistance -we do not know, but within a fortnight work on the project had been -energetically begun. Schindler was now called upon to write, fetch -and carry as steadily and industriously as if he were, in fact, what -he described himself to be--a private secretary. Among his papers in -Berlin are found many billets and loose memoranda bearing on the -subject, without date, but grouped as to periods by Schindler himself -and provided with occasional glosses touching their contents. Beethoven -took so much of his time in requisition, indeed, that he offered to -pay him 50 florins after the collection of one of the subscription -fees, but Schindler records that he never received them nor would he -have accepted them. He was, as he informed the world for many years -afterward on his visiting card, "L'Ami de Beethoven," and his very -considerable and entirely unselfish labors were "works of friendship" -for which he wanted no remuneration; but he was very naturally rejoiced -when Beethoven presented him with several autograph scores, and we -have seen how, after the death of Beethoven, Breuning gave him many -papers which seemed valueless then but are looked upon as invaluable -now. Moreover, he disposed of his Beethoven _memorabilia_ to the -Royal Library of Berlin for an annuity of 400 thalers--all of which, -however, does not detract from the disinterestedness of his labors for -Beethoven, alive, suffering and so frequently helpless. - -[Sidenote: ROYAL SUBSCRIPTIONS INVITED] - -The invitations to the courts were issued in part before the end of -January. A letter to Schindler, evidently written in that month, asks -him to draw out a memorandum of courts from an almanac in which the -foreign embassies stationed at Vienna were listed. The invitations were -posted on the following dates: to the courts at Baden, Wurtemburg, -Bavaria and Saxony on January 23; "to the other ambassadors" (as -Beethoven notes) on January 26; to Weimar on February 4; to Mecklenburg -and Hesse-Darmstadt on February 5; to Berlin, Copenhagen, Hesse-Cassel -and Nassau on February 6; to Tuscany on February 17, and to Paris on -March 1. The invitation to the court at Hesse-Cassel had been written -on January 23, but it was not sent because, as Schindler says, "it had -been found that nothing was to be got from the little courts." The -letter came back to Beethoven and its preservation puts in our hands -the formula which, no doubt was followed in all the formal addresses. -We therefore give it here: - - The undersigned cherishes the wish to send his latest work, which - he regards as the most successful of his intellectual products, to - the Most Exalted Court of Cassel. - - It is a grand solemn mass for 4 solo voices with choruses and - complete grand orchestra in score, which can also be used as a - grand oratorio. - - He therefore begs the High Embassy of His Royal Highness, the - Elector of Hesse-Cassel, to be pleased to procure for him the - necessary permission of your Exalted Court. - - Inasmuch, however, as the copying of the score will entail a - considerable expense the author does not think it excessive if he - fixes an honorarium at 50 ducats in gold. The work in question, - moreover, will not be published for the present. - - Vienna, 23 January, 1823. - - Ludwig van Beethoven. - -Only the signature was in Beethoven's handwriting. It is not known -how many of these invitations were issued; Schindler's account goes -only to the subscriptions received and even here it is not entirely -accurate. There were ten acceptances. The first came from the King of -Prussia. Prince Hatzfeld acted in the matter for Berlin and Beethoven -also invoked the aid of Zelter. Court Councillor Wernhard, Director -of the Chancellary of the Embassy at Vienna, brought the report to -Beethoven and asked him if he would not prefer a royal order to the 50 -ducats. Without hesitation, Beethoven replied "50 ducats," and after -Wernhard had gone he indulged in sarcastic comments on the pursuit -of decorations by various contemporaries--"which in his opinion were -gained at the cost of the sanctity of art." Beethoven received the -money, but the score was not delivered, owing, no doubt, to delay in -the copying, and in July Prince Hatzfeld feels compelled to remind the -composer of his remissness. Prince Radziwill in Berlin also subscribed, -but he did not receive his copy till more than a year later. On June -28, 1824, a representative of the Prince politely informed Beethoven -that he had sent a cheque for 50 ducats to him with a request for a -receipt and a copy of the score, but had received neither. On July -3, Schindler informed Beethoven that Hatzfeld had earnestly inquired -whether he was now going to receive the Mass. He was being so pestered -about the matter from Berlin that it was becoming burdensome. He -asked that Beethoven write to the Prince without delay, telling him -when he should receive the Mass, so that he might show it in his -own justification in Berlin. Schindler says the fault lay with the -copyists; in every copy many pages had to be rewritten. - -Much to Beethoven's vexation and impatience the Saxon court was -very tardy in its reply, or rather in subscribing, for at first the -invitation was declined; but Beethoven was not thus to be put off by a -court with which his imperial pupil was closely connected. He called -in the help of Archduke Rudolph, to whom on July 1, 1823, he wrote a -letter. He complains in this letter of pain in the eyes from which he -has been suffering for a week. He was forced to make sparing use of -them and therefore had not been able to look through some variations -composed by the Archduke, but had been obliged to leave the task to -another. He continues: - -[Sidenote: AN ARCHDUKE ASKED TO BE SOLICITOR] - - In regard to the Mass which Y. I. H. wished to see made more - generally useful: the continuously poor state of my health for - several years, more especially the heavy debts which I have - incurred and the fact that I had to forgo the visit to England - which I was invited to make, compelled me to think of means for - bettering my condition. For this the Mass seemed suitable. I was - advised to offer it to several courts. Hard as it was for me to - do this I nevertheless did not think that I ought to subject - myself to reproach by not doing it. I therefore invited several - courts to subscribe for the Mass, fixed the fee at 50 ducats, as - it was thought that would not be too much and, if a number of - subscribers were found, also not unprofitable. Thus far, indeed, - the subscription does me honor, their Royal Majesties of France and - Prussia having accepted. I also a few days ago received a letter - from my friend Prince Gallitzin [_sic_] in St. Petersburg, in which - this truly amiable prince informs me that His Imperial Majesty - of Russia had accepted and I should soon hear the details from - the Imperial Russian embassy here. In spite of all this, however, - though others have also become subscribers I do not get as much as - I would as fee from a publisher, only I have the advantage that - the work remains _mine_. The costs of copying are large and will - be increased by the new pieces[70] which are to be added, which I - shall send to Y. I. H. as soon as I have finished them. Perhaps Y. - I. H. will not find it burdensome graciously to ask H. R. H. the - Grand Duke of Tuscany to take a copy of the Mass. The invitation - was sent some time ago to the Grand Duke of Tuscany through the - agent v. Odelgha, and O. solemnly assures me that the invitation - will surely be accepted, but I am not entirely confident, since - it was several months ago and no answer has been received. The - matter having been undertaken, it is only natural that as much as - possible should have been done to attain the desired result. It - was hard for me to understand this, still harder for me to tell Y. - I. H. of it or permit you to notice it, but "_Necessity knows no - law_." But I thank Him above the stars[71] that I am beginning to - use my eyes again. I am now writing a new symphony for England, - for the Philharmonic Society, and hope to have it completely done - in a fortnight. I can not yet strain my eyes for a long period, - wherefore I beg Y. I. H. graciously to be patient in regard to Y. - I. H.'s variations which seem to me charming but need carefully to - be looked through by me. Continue Y. I. H. to practice the custom - of briefly jotting down your ideas at the pianoforte; for this a - little table alongside the pianoforte will be necessary. By this - means the fancy will not only be strengthened but one learns to - fix at once the most remote ideas. It is also necessary to write - without the pianoforte, and sometimes to develop a simple chorale - melody now with simple, and anon with varied figurations in - counterpoint and this will cause no headache to Y. I. H. but rather - a great pleasure at finding yourself absorbed in the art. Gradually - there comes the capacity to represent just that only which we wish - to feel, an essential need in the case of men of noble mould. My - eyes command me to stop, etc. - -This letter was written in Vienna, but from Hetzendorf he sent a -postscript in which he said: - - If convenient, will Y. I. H. graciously recommend the Mass to - Prince Anton in Dresden, so that His Royal Majesty of Saxony may - be induced to subscribe to the Mass, which will surely happen if - Y. I. H. shows the slightest interest in the matter. As soon as - I have been informed that you have shown me this favor, I shall - at once address myself to the Director General of the Theatre and - Music there, who is in charge of such matters, and send him the - invitation to subscribe for the King of Saxony which, however, I - do not wish to do. My opera "Fidelio" was performed with great - success in Dresden at the festivities in honor of the visit of the - King of Bavaria, all their Majesties being present. I heard of - this from the above-mentioned Director General, who asked me for - the score through Weber and afterwards made me a handsome present - in return. Y. I. H. will pardon me for inconveniencing you by such - requests but Y. I. H. knows how little importunate I am as a rule; - but if there should be the least thing unpleasant to you in the - affair you will understand as a matter of course that I am none - the less convinced of your magnanimity and graciousness. It is not - greed, not the desire for speculation, which I have always avoided, - but need which compels me to do everything possible to extricate - myself from this position. In order not to be too harshly judged, - it is perhaps best to be frank. Because of my continual illness, - which prevented me from writing as much as usual, I am burdened - with a debt of 2300 florins C. M. which can be liquidated only by - extraordinary exertions. If these subscriptions help matters, for - which there are the best of hopes, I shall be able to get a firm - foothold again through my compositions. Meanwhile, may Y. I. H. be - pleased to receive my frankness not ungraciously. If ever I should - be charged with not being as active as formerly, I should keep - silent as I always have done. As regards the recommendations I am - nevertheless convinced that Y. I. H. will always be glad to do good - _whenever possible_ and will make no exception in my case. - -Beethoven's impatience with the Saxon Court was so great that some -time before his hopes had been reanimated, probably by the application -for his opera, he had said in a note to Schindler: "Nothing from -Dresden. Wait till the end of the month then an advocate in Dresden." -These words led Schindler to the singular conclusion that Beethoven -had thoughts of compelling the King of Saxony to reach a decision by -judicial means. Obviously, all that Beethoven meant by "advocate" was a -pleader, an intercessor. He could have contemplated legal measures only -if he had sent a copy of the Mass to the King with the invitation, and -this we know he did not do from a letter written by Archduke Rudolph, -which says, that the King of Saxony had not received a score by July -31. Archduke Rudolph became the advocate through his brother-in-law -Prince Anton, brother to the King, and so did the Director General v. -Koenneritz, to whom Beethoven wrote on July 17 and again on July 25. In -the first letter he promises to send the invitation to the King and -in the next he does so. This must have been a second invitation, for -Beethoven tells v. Koenneritz that the original one had been declined. A -paragraph from each letter deserves reproduction. - - I know that you will scarcely think of me as among those who - write simply for vulgar gain, but when do not circumstances - sometimes compel a man to act contrary to his habits of thought and - principles!! My Cardinal is a good-hearted prince, but he lacks - means. - - Up to now, in spite of all external glory, I have scarcely received - for the work what I would have been paid by a publisher, the costs - of copying having been so great. My friends conceived the idea of - thus circulating the Mass, for I, thank God, am a _layman_ in all - speculations. Besides, there is no citizen of our country who has - not suffered loss, and so have I. Were it not for my sickness of - years' standing, I should have received enough from foreign lands - to live a care-free life, caring only for art. Judge me kindly and - not unfavorably, I live for my art alone and to fulfil my duties as - a man, but alas! that this can not always be done without the help - of the _subterrestrial powers_. - -[Sidenote: SUBSCRIPTIONS BY REGAL COURTS] - -These last efforts were successful; King Friedrich August subscribed -for the Mass, and on July 31 Archduke Rudolph wrote to his -music-master: "My brother-in-law Prince Anton has already written to me -that the King of Saxony is expecting your beautiful Mass." On September -12, Prince Anton wrote to Beethoven that he had no doubt his royal -brother would grant his wish, especially as he had spoken to him on the -subject in the name of his brother-in-law, the Cardinal. The money must -have arrived soon afterward and Beethoven set Schindler's mind at ease -by writing to him: - - In order that evil report may not longer injure the poor Dresdeners - too much, I inform you that the money reached me to-day, with all - marks of respect. - -According to Fuerstenau the manuscript copy of the Mass is still in the -private music collection of the King of Saxony in Dresden. - -The Grand Duke of Hesse-Darmstadt was appealed to directly under date -of February 5, the letter, probably following the formula and signed -by Beethoven, being forwarded through the Hessian ambassador, Baron -von Tuerckheim, a cultured art connoisseur and subsequently Intendant -of the Grand Ducal Theatre in Darmstadt. Louis Schloesser was in Vienna -at the time, and Baron von Tuerckheim, knowing that he wanted to make -Beethoven's acquaintance, gave him the opportunity by asking him -to carry the information that the invitation had been accepted, to -Beethoven, handing him the dispatch with the Grand Ducal seal affixed -for that purpose. Schloesser went to Beethoven, "No. 60 Kothgasse, first -storey, door to the left," and has left us a description of the visit, -which must have been made in April or early in May, 1823. Beethoven -read the document with great joy and said to Schloesser: - - Such words as I have read do good. Your Grand Duke speaks not only - like a princely Maecenas but like a thorough musical connoisseur of - comprehensive knowledge. It is not alone the acceptance of my work - which rejoices me but the estimation which in general he places - upon my works. - -[Sidenote: A VAIN APPEAL TO GOETHE] - -No success was met with at the cultivated Court of Weimar, though here -Beethoven invoked the assistance of no less a dignitary than Goethe. -His letter to the poet is still preserved in the Grand Ducal archives -and is worthy of being given in full: - - Vienna, February 8th, 1823. - - Your Excellency! - - Still living as I have lived from my youthful years in your - immortal, never-aging works, and never forgetting the happy - hours spent in your company, it nevertheless happens that I must - recall myself to your recollection--I hope that you received the - dedication to Your Excellency of "Meeresstille und glueckliche - Fahrt" composed by me. Because of their contrast they seemed to me - adapted for music in which the same quality appears; how gladly - would I know whether I have fittingly united my harmonies with - yours; advice too, which would be accepted as very truth, would be - extremely welcome to me, for I love the latter above all things - and it shall never be said of me _veritas odium parit_. It is very - possible that a number of your poems which must ever remain unique, - set to music by me, will soon be published, among them "Rastlose - Liebe." How highly would I value some general observations from - you on the composition or setting to music of your poems! Now a - request to Y. E. I have composed a Grand Mass which, however, I - do not want to publish at present, but which is to be sent to the - principal courts. The honorarium for the same is 50 ducats only. I - have addressed myself in the matter to the Grand Ducal Weimarian - Embassy, which has accepted the appeal to His Serene Highness and - promised to deliver it. The Mass can also be used as an oratorio - and who does not know that the benevolent societies are suffering - from the lack of such things. My request consists in this, that - Y. E. call the attention of His Serene Highness, the Grand Duke, - to this matter so that His Highness may subscribe for the Mass. - The Grand Ducal Weimarian Embassy gave me to understand that it - would be very beneficial if the Grand Duke could be induced to - regard the matter favorably in advance. I have written much but - accumulated scarcely anything, and now I am no longer alone but - have for more than six years been father to a son of my deceased - brother, a promising youth in his sixteenth year, wholly devoted to - science and already at home in the rich shafts of Hellenism; but in - these countries such things cost a great deal and, in the case of - young students, not only the present but also the future must be - borne in mind, and as much as I formerly kept my thoughts directed - aloft I must now extend my glances _downwards_. My income is all - outgo--the condition of my health for years has not permitted - that I make artistic journeys nor seize upon the many things which - yield money!?--If my health should be completely restored I might - expect other and better things. Y. E. must not think that it is - because I am asking a favor that I have dedicated the "Meeresstille - und glueckliche Fahrt" to you--this was already done in May, 1822, - and this method of making the Mass known was not thought of till a - few weeks ago. The respect, love and esteem which I have cherished - for the only and immortal Goethe since the days of my youth have - remained with me. Things like this are not easily put into words, - especially by a bungler like myself, who has always been bent only - on making tones his own, but a singular feeling impels me always to - tell you this, inasmuch as I live in your works. I know that you - will not refuse to help an artist who feels only too keenly how far - mere _monetary reward_ is from _her_ (art) now that he is compelled - by _need_ and constrained to work and labor _because of others for - others_. The good is always plain to us and therefore I know that - Y. E. will not deny my request. - - A few words from you would fill me with happiness. - - I remain, Your Excellency, with the sincerest and most unbounded - respect, - - Beethoven. - -According to Schindler, who surely was in a position to know, no answer -to this letter was ever received; nor did the Grand Duke subscribe. -That the invitation reached its destination may safely be assumed from -Beethoven's remark about the interest displayed in the plan at the -embassy; but the document is not to be found in the archives. Goethe's -indifference, if he was indifferent in the premises, may be explained -on a number of grounds. If he ever was thoroughly appreciative of -Beethoven's music, it was only later in life. He was in the prime -of life with fixed tastes in music as well as the other arts before -Beethoven came with his new evangel. Reichardt, Zelter and men of their -stamp produced the music which was most to his liking. It is true that -in July, 1812, he wrote a letter in which he said that he had never -seen a more self-contained, energetic and sincere artist than Beethoven -and that he could well understand why he appeared singular in the eyes -of the world; but it is doubtful if he ever felt any real attachment -to the man, and not altogether impossible, if the Teplitz stories are -true, that he resented the bad manners of which Beethoven is said to -have been guilty. But a long time had elapsed since the two great men -came together in 1812. - -Bavaria's story is a short one. In a Conversation Book towards the -close of May, Schindler writes: "A negative answer has come from -Bavaria." To the King of Naples, Beethoven sent a French copy of the -letter of invitation practically identical with the formula, and also -to the King of France.[72] In the latter case Cherubini was asked to be -the advocate. The draft of Beethoven's letter to him is still preserved -among the Schindler papers in Berlin: - - Highly respected Sir! - - It is with great pleasure that I embrace the opportunity to - approach you in writing; in spirit I am with you often enough, - inasmuch as I value your works more than all others written for - the stage, though the beautiful world of art must deplore the fact - that for a considerable period no new theatrical work of yours - of large dimensions has appeared, at least not in our Germany; - high as your other works are esteemed by true connoisseurs, it is - yet a veritable loss to art not to possess a new product of your - great mind. True art remains imperishable and the genuine artist - feels sincere pleasure in real and great products of genius, and - so I, too, am enraptured whenever I hear a new work of yours and - feel as great an interest in it as in my own works.--In brief, I - honor and love you--If it were not for my continual ill health and - I could see you in Paris, with what extraordinary delight would - I discuss art matters with you?! I must add that to every artist - and art-lover I always speak of you with _Enthusiasm_, otherwise - you might (_illegible word_) believe, since I am about to ask a - favor of you, that this was merely an introduction to the subject. - I hope, however, that you will not attribute such lowmindedness, - so contemptible an action, to me. My request consists in this, - etc.[73] That in this, etc. I know that if you will advise His - Majesty to take the Mass, he will surely do so. My situation _ma - critique demande que je ne fixe seulement come ordinaire mes - pensees aux ciel aux contraire, il faut les fixer en bas pour les - necessites de la vie_. Whatever may be the fate of my request to - you, I shall always love and honor you _et vous resteres toujours - celui de mes contemporains, que je l'estime le plus si vous me - voulez faire une_ [sic] _estreme plaisir, c'etoit si m'ecrireess - quelque lignes, ce que me soulagera bien--l'art unie touta_ [sic] - _le monde_ and how much more true artists, _et peut etres vous me - dignes aussi, de me mettre_ also to be counted amongst this number, - - _avec la plus haute - estime - votre ami - e serviteur - Beeth._ - -[Sidenote: A MEDAL FROM THE KING OF FRANCE] - -The letter was despatched on March 15. Cherubini did not receive it, -and as late as 1841 expressed his great regret at the miscarriage -which, however, worked no harm to the enterprise. King Louis XVIII -not only subscribed for the Mass but within less than a year sent -Beethoven a gold medal weighing twenty-one Louis d'ors, showing on -the obverse side the bust of the King and on the reverse, within a -wreath, the inscription: _Donnee par le Roi a Monsieur Beethoven_. Duke -d'Achats, First Chamberlain of the King, accompanied the gift with the -following letter: - - _Je m'empresse de vous prevenir, Monsieur, que le Roi a accueille - avec bonte l'hommage de la Partition de Votre Messe en Musique et - m'a charge de vous faire parvenir une medaille d'or a son effigie. - Je me felicite d'avoir a vous transmettre le temoinage de la - satisfaction de Sa Majeste et je saisis cette occasion de vous - offrir l'assurance de ma consideration distinguee._ - - _Le Premier Gentilhomme - de la Chambre du Roi_ - - Aux Tuileries ce 20 Fevrier 1824. Le duc d'Achats. - -"This was a distinction," says Schindler, "than which one more -significant never fell to the lot of the artist during his life"; but -the biographer certainly is in error when he intimates that the medal -was given in payment of the subscription price. Beethoven informed -Archduke Rudolph that the King had accepted the invitation in his -letter of June 1, 1823; the medal was received early in 1824, over -eight months later. Beethoven's needs and the reply which he gave the -messenger from Prussia when he offered a decoration instead of the 50 -ducats, indicate plainly enough how he felt as to the remuneration. -Moreover, in a billet which he sent to Schindler instructing him -to call upon von Obreskow of the Russian Embassy to tell him how -to pay the subscription of the Czar, Beethoven says: "let him know -incidentally, when opportunity offers, that France simply sent the -money to you." Evidently King Louis XVIII paid the money in the regular -way and sent the medal as a special mark of distinction. - -No subscription was received from the King of Naples. The negotiations -with the Grand Duke of Tuscany were more successful, though they -dragged on into the next year. They were a subject of discussion -in the Conversation Book in which Count Lichnowsky, Brother Johann -and Nephew Karl took part. From remarks there recorded it appears -that an appeal was also made to Ex-Empress Maria Louisa, Duchess of -Parma. Here the agent was Odelga and there was a plan to interest -Countess Neuberg. Count Lichnowsky seems to have suggested the name -of Maria Louisa and offered to write to Count Neuberg, whom he knew, -on the subject. It looks also as if the case of the Grand Duke of -Tuscany had been exceptional, in that the Mass had been forwarded -before the subscription had been received; this at least might be -the interpretation of a remark noted by Karl: "I shall go to Odelga -on Sunday. We must get to work, or they will keep the Mass and send -nothing." - -Schindler says that Beethoven sent a carefully written letter to the -King of Sweden to accompany the invitation; but nothing came of it. The -King of Denmark subscribed, but as we hear nothing of the particulars, -it is most likely that everything went smoothly in his case. - -Prince Galitzin was asked to make a plea to the Russian Court and -reported in a letter to Beethoven, dated June 2, that the invitation -had been accepted and the official notification would follow in due -course through the Russian Embassy. The money came soon afterwards. On -July 9, Schindler writes in a jocular vein, using a metaphor which had -already done service in Beethoven's correspondence: - - I take pleasure in reporting to you herewith, that by command of - the Emperor of all the Russias, 50 horsemen in armor are arrived - here as a Russian contingent to do battle under you for the - Fatherland. The leader of these choice troops is a Russian Court - Councillor. Herr Stein, pianoforte maker, has been commissioned - by him to quarter them on you. _Rien de nouveau chez nos voisins - jusqu'ici._ - - _Fidelissimus Papageno._[74] - -The director of the business affairs of the Russian Embassy, von -Obreskow, had made inquiry as to how the fee was to be paid. Beethoven -wrote to Schindler to tell Obreskow to pay the bearer on delivery of a -receipt; to say (if it became opportune) that the King of France had -done so; and admonished him always to remember that such personages -represented "Majesty itself"; also to "say nothing about the Mass -not being finished, which is not true, for the new pieces are only -additions." Impatience at the non-delivery of the Mass at the expected -time must have been expressed by the Russian Embassy, for in a note -which Schindler dates "in the winter of 1824," Beethoven says: - - Mr. v. Schindler: - - Here the _Paquett_ for the Russian Embassy, please look after it at - once, moreover say that I shall soon visit him in person, inasmuch - as it hurts me that lack of confidence has been felt in me and I - thank God I am in a position to prove that I do not deserve it in - any way nor will my honor permit it.[75] - -[Sidenote: PRINCE GALITZIN'S SUBSCRIPTION] - -Prince Galitzin, who had already expressed his delight in the new work -and who had also been invited to subscribe, suggested that the Mass -be published by popular subscription at four or five ducats, as there -were not many amateurs who could afford to pay 50 ducats for a written -copy. "All that I can do," the Prince writes in conclusion, "is to beg -you to put me down among your subscribers and to send me a copy as soon -as possible so that I may produce it at a concert for the benefit of -the widows of musicians which takes place annually near Christmas." -Plainly, this was a subscription in the existing category; there was no -other, and Beethoven, in view of the invitation to the courts, could -not at once entertain the subject of a popular subscription for a -printed edition. Galitzin also accedes to a request which had obviously -been made to him when the invitation was extended, that the 50 ducats -already deposited in Vienna by him for a quartet be applied to the -account of the Mass. He writes on September 23 (October 3): "I have -just received your letter of the 17th and hasten to answer that I have -instructed the house of Henikstein to pay you immediately the 50 ducats -which I fancied had long ago been placed at your disposal." The bankers -Henikstein sent the Prince Beethoven's receipt for the 50 ducats "which -we paid to him on the order and account of Your Highness as fee for -the Mass which we have forwarded through the High State Chancellary." -The score was in the hands of Prince Galitzin on November 29, but the -performance which he had projected did not take place until April 6, -1824. It was the first performance of the Mass anywhere, and Galitzin -wrote an enthusiastic account of it to Beethoven under date of April -8.[76] - -A special invitation to subscribe to the Mass was not extended to the -Austrian court for reasons which, no doubt, were understood between -Beethoven and Archduke Rudolph and which may have been connected with -efforts which were making at the time to secure a court appointment -for the composer. At the request of Artaria, however, an invitation -was sent to Prince Paul Esterhazy. Beethoven had little confidence in -the successful outcome of the appeal, probably with a recollection in -his mind of the Prince's attitude toward him on the occasion of the -production of the Mass in C in 1807, to which he seems to refer in a -letter to Schindler dated June 1:[77] - - /# You will kindly again make inquiry of (_illegible_) for a - report. I doubt if it will be favorable for I do not expect a good - opinion from him, at least not to judge by earlier times! I think - that such matters can only be successfully presented to him by - women. - -Beethoven's suspicious nature had other food. On the outside of this -letter he wrote: - - N. B. So far as I can remember there was nothing said in the - invitation to Prince Esterhazy about the Mass being distributed - only in manuscript. What mischief may not result from this. I - suspect that the purpose of Herr Artaria in suggesting that the - Mass be offered to the Prince gratis was to enable him to steal a - work of mine for the third time. - -Beethoven's lack of faith in the enterprise was justified; Esterhazy -did not subscribe. - -No invitation was sent to the English court, probably because Beethoven -cherished a grudge in that quarter; but subscriptions were asked -of two large singing societies--the Singakademie of Berlin and the -Caecilien-Verein of Frankfort. Zelter was director of the Singakademie, -and to him Beethoven wrote on February 8 as follows, after the -introductory compliments and reflections: - - I wrote a Grand Mass, which might also be performed as an oratorio - (for the benefit of the poor, as is the good custom that has been - introduced) but did not want to publish it in print in the ordinary - way, but to give it to the principal courts only. The fee amounts - to 50 ducats. Except the copies subscribed for, none will be - issued, so that the Mass is practically only a manuscript. - -He informs Zelter that an appeal has been sent to the King of Prussia -and that he has asked the intercession in its behalf of Prince -Radziwill. He then continues: - - I ask of you that you do what you can in the matter. A work of - this kind might also be of service to the Singakademie, for there - is little wanting to make it practicable for voices alone; but the - more doubled and multiplied the latter in combination with the - instruments, the more effective it would be. It might also be in - place as an oratorio, such as is in demand for the Societies for - Poverty. More or less ill for several years and therefore not in - the most brilliant situation, I had recourse to this means. I have - written much but accumulated almost 0. Disposed to send my glances - aloft--but man is compelled for his own and for others' sake to - direct them downwards; but this too is a part of man's destiny. - -[Sidenote: ZELTER AND THE SOLEMN MASS] - -The letter will be seen, on comparison with that written on the same -day to Goethe, to be either a draft for the latter in part or an echo -of it. There is the same pun on "geschrieben" and "erschrieben," the -same lament about having to keep his eyes on the ground while desirous -to keep them fixed on higher things, the same reference to the value -of the Mass for concert purposes in behalf of charity. As this last -point is one which would naturally occur to the writer in addressing a -musician and not at all naturally in an appeal to a poet, it is safe -to say that the Zelter letter was written first. It is an unpleasant -duty to call attention to a very significant difference between this -letter and the invitation issued to the courts as well as the letter -to Goethe. In the latter he distinctly says that the Mass will not be -published in the ordinary way "for the present," thus reserving the -privilege of printing it at a future time. To Zelter, and presumably -to the Frankfort society, he plainly intimates that there is to be no -publication in the ordinary way at all. It is not a violent presumption -that Zelter may have observed this discrepancy, which was of vital -moment to his society, and that this may have caused the termination of -the negotiations, which began auspiciously enough in a letter written -by Zelter on February 22 in reply to Beethoven's. In this letter he -said he was ready to purchase the Mass for the Singakademie at his own -risk, provided Beethoven would adapt it to the use of the society--that -is, arrange it for performance practically without instruments--a -proceeding, he explained, which would make it practicable for all -similar concert institutions. To this letter Beethoven replied on March -25: - - I have carefully considered your suggestion for the Singakademie. - If it should ever appear in print I will send you a copy without - pay. It is true that it might almost be performed _a la capella_, - but to this end the whole would have to be arranged. Perhaps you - have the patience to do this. Besides, there is already a movement - in it which is entirely _a la capella_ and I am inclined to call - this style the only true church style. I thank you for your - readiness. From such an artist as you are, _with honor_, I would - never accept anything. I honor you and desire only an opportunity - to prove this to you in deed. - -There the matter ended, so far as is known. The negotiations with -the Frankfort society were more successful. On May 19, 1823, J. N. -Schelble, director, wrote saying: - - The hope of receiving a new composition from you, great master, - inspires all the members and reinvigorates their musical zeal. I - therefore request you as soon as it is convenient to you to forward - a copy of your Mass to me. - -There were, therefore, as appears from this account and the list of -names sent in November, 1825, to the publishers of the Mass, ten -subscribers, namely: the Czar of Russia, the Kings of Prussia, Saxony, -France and Denmark, the Grand Dukes of Tuscany and Hesse-Darmstadt, -Princes Galitzin and Radziwill and the Caecilia Society of Frankfort. -Beethoven's receipts, 500 ducats (L250 or about $1200), were very -materially reduced, how much we can not say, by the costs of copying. -In this work his principal helper was a professional copyist named -Schlemmer, who could best decipher his manuscript. But Schlemmer -was sickly and died before the year was over; his successor was -named Rampel, and seems to have caused Beethoven a great deal of -annoyance; he probably was made to bear a great deal of the blame for -the tardiness of the work, for which, also, the composer's frequent -alterations were in part responsible. One of the numerous letters to -Schindler from this period throws a little light on this subject: - - Samothracian L----l.[78] - - How about the trombone part. It is certain that the youngster still - has it, as he did not return it when he brought back the _Gloria_. - There was so much to do in looking over the wretched scribbling - that to carry back the trombone part was forgotten. If necessary, - I shall come to Vienna about the police matter. Here, for Rampel, - is first the theme of the _Var._ which is to be copied for me on - a separate sheet--then he is to copy the rest to _Var._ 13 or to - the end of _Var._ 12, and so an end of this. Get from Schlemmer - what remains of the _Kyrie_:--show him the postscript and herewith - _satis_.--for such _Hauptl----ls_ there is nothing more to be done. - Farewell--attend to everything--I am obliged to bind up my eyes - at night and must be very sparing in my use of them. Otherwise, - Smettana writes, I shall write but few more notes. To Wocher, - whom I shall visit myself as soon as I come to town, my prettiest - compliments and has he yet sent away the _Var._? - -[Sidenote: NEGOTIATIONS WITH DIABELLI] - -Beethoven's thoughts in connection with the Mass were not all engrossed -during 1823 with the finishing touches on the composition and the -subscription; he was still thinking of the publication of the work. -His thoughts went to London, as a letter to Ries shows. The Mass -also came up in his dealings with Diabelli in Vienna. There were, -probably, other negotiations, of which we are not advised. An agreement -had been reached with Diabelli concerning the Variations, Op. 120 -(on the Diabelli waltz theme), and the Mass had also been mentioned. -Whatever the nature of the negotiations may have been, Diabelli now -seems to have been insisting on conditions which Beethoven could not -accept without breach of contract with his subscribers or revoking the -subscriptions. In March Diabelli called Schindler into his shop and -had a talk with him which is detailed in a Conversation Book. It is -Schindler who is speaking: - - Diabelli called me in to-day while I was passing and said to - me that he would take the Mass and publish it in two months by - subscription. He guarantees you the 1000 florins, as he says he has - already told you. You can have as many copies as you want--Diabelli - only asks of you that you let him know your decision within a - few days, then he will have work begun at once and promises that - everything shall be ready by the end of May. You, however, will not - have any further care in the matter. I think the proposition a very - good one, the more, because the work will be printed at once. - -Beethoven appears to have doubts or scruples on the score of the -invitations sent to the sovereigns. - - It will make no difference to the most exalted courts if printed - copies are put out. Do you want the 1000 florins in cash at once - or later?--he assures me that they will be guaranteed to you; the - business now is that you come to an understanding. - -It appears, now, that Diabelli wants to publish the three supplementary -pieces also; but Beethoven still hesitates: - - It would be best if you were to persuade Diabelli to print the - work at once, but wait a few months with the publication by - subscription. Then you will not be compromised in the matter, nor - he either. - -Later (there has plainly been another consultation between Schindler -and Diabelli): - - Diabelli agrees to wait until the tardy answers have been received - before opening the subscription. But he is not willing to wait a - whole year. - -And in April: - - Are you agreed? The only question is whether you give Diab. the - privilege of announcing the subscription a month before he pays. It - is his wish not to put the Mass in hand until he has paid. About - Diabelli then--do you want to leave the matter to me or consider - the publication by yourself? Diabelli wants the Mass by July 1 in - order to have it ready by the St. Michael Fair. - -Later, August 1 and September 1 are mentioned. Beethoven was firm in -his determination to keep faith with his subscribers. He writes to -Schindler: "There are only two courses as regards the Mass, namely, -that the publisher delay the publication a year and a day; or, if -not, we can not accept a subscription." Later he writes: "Nothing is -to be changed in the Diabelli contract except that _the time_ when he -is to receive the Mass from me be left undetermined." The contract in -question which was thus to be amended concerned the Variations, but -presumably the Mass also. Beethoven writes: - - From my little book I see that you have doubts in the matter of the - Mass and Diab., wherefore, I beg you to come soon, for in that case - we will not give him the Var. either, as my brother knows somebody - who wants to take them both. We are therefore in a position to talk - to him. - -Either this disagreement or some other in a matter in which Schindler -acted as Beethoven's agent brought out a letter from the latter to -the former in which he expresses a belief that the business, "so -disagreeable to you," might be brought to a conclusion soon: "moreover -I was not, unfortunately, entirely wrong in not wholly trusting Diab." -Schindler, in a gloss on this note, says that the disagreeable business -concerned the Mass. Diabelli had made plans which were not only -harmful to the work but humiliating as well to Beethoven. Schindler -pointed this out and Diabelli became violent and declared that since -the contract was as good as closed he would summon Schindler before a -court of law if it were not kept. "But," says Schindler, "the threat -did no good; he had to take back the document." The numerous notes to -Schindler about this period are undated and the times at which they -were written have been only approximately fixed by Schindler; there -is also some vagueness touching the time and order of the written -conversations, but the evidence thus far presented, together with a -significant remark in a billet to Schindler, to the effect that he -had thought of a project which would "act like a pistol-shot on this -fellow," would seem to justify the assumption that Beethoven had -entered into the same kind of obligation with Diabelli as he had with -Simrock and Peters so far as the Mass was concerned, and that before -the execution of a formal contract, which seems to have been considered -necessary in this case, which was to include the Variations on the -Diabelli Waltz theme, Beethoven had embarked on his enterprise with -the sovereigns, which made the speedy publication of the Mass in the -ordinary way impossible with honor; further, that a threat to withhold -the Variations had been used to bring the irate publisher to terms. In -the April Conversation Book Schindler says: "Won't Diabelli make wry -faces when your brother demands the document back almost as soon as he -has received it!" - -[Sidenote: DUBIOUS ASPECT OF THE NEGOTIATIONS] - -To the commercialized mind of to-day it is possible that the picture -which has just been presented here of a superlatively great artist -hawking his creations in the courts of Europe, appealing to his friends -and patrons among the great to act as his go-betweens, railing against -the tardy and permitting those who were prompt in payment to wait -unconscionable periods for their property, may seem to present as -little of the aspect of debasement of genius and its products as it -did at a time when great musicians were menials in the households of -the highborn, and thrift could only follow fawning. But Beethoven had -done much to exalt art and emancipate the artist, and what would have -caused little comment in the case of his predecessors amongst court -musicians was scarcely venial in him who preached a new ethic as well -as artistic evangel. And so, to minds untainted by trade and attuned -to a love of moral as well as aesthetic beauty, the spectacle which -Beethoven presents in 1823 must be quite as saddening as that disclosed -by his dealings with the publishers in the years immediately preceding. -A greater measure of commiseration goes out to him now, however, -because of the evidence that the new phase cost him greater qualms -of conscience and that the exigencies which impelled him were more -pressing. His physical ailments were increasing; his deafness had put a -stop to his appearances in public as an artist; his eyes were troubling -him; there was no lessening of his concern about his ward, but an -increase in the cost of his maintenance; his income was continually -dwindling because of his lessening productivity, notwithstanding that -the fees which he could command for new works (and even the remnants -of his youthful activity) had reached dimensions of which he had -never dreamed in the heyday of his powers; he felt the oppressive -burden of his debts more and more as his unreasoning love for his -foster-son prompted him to make provision against the future. The royal -subscription was, no doubt, a welcome scheme which, if not suggested by -his advisers, was certainly encouraged by them; but it must have cost -his proud soul no little humiliation to have his application rejected -after he had so deeply bent "the pregnant hinges of the knee." The -publishers gave him less concern. They were his natural enemies and he -theirs--"hellhounds who licked and gnawed his brains," as he expressed -it in a letter to Holz in 1825; yet he knew that he would need them, -and he knew also that as soon as he went to them, and the mass appeared -in print, the manuscript copies which he had sold would be all but -worthless. But this may have troubled him little, as he, in all -likelihood, shared Schindler's conviction that there was no permanency -of interest in the work on the part of the crowned heads and that they -would not be troubled by the appearance of the work in print. Patronage -of art is part of the obligation which rests upon royalty, and it -would have been little less than a crime to withhold the Mass from -the public; but what of the exclusiveness of right which was implied, -if not expressed, in the letter to Zelter and presumably also in that -to the Caecilia Society of Frankfort? He had informed the kings, who -might not even deign to glance at the Mass, that he had no "present" -intention to print the work, leaving them to gather that he would do so -later; but he plainly gives Zelter to understand that it is to remain -a manuscript. Here, too, the advice of his friends, who could see his -need but did not feel the moral responsibility which he may, or ought -to, have felt, must have been persuasive and also comforting.[79] The -world has too long enjoyed the great work to distress itself about the -circumstances of its creation and publication; but the historian and -moralist may yet as deeply deplore them as pity the conditions which -compelled the composer to yield to them. - -[Sidenote: DEALINGS WITH THE LONDON PHILHARMONIC] - -Preliminary to the narrative of the other varied incidents of the year -1823, let us set down a brief mention of the fact that on January 20 -Beethoven wrote a little piece for voice and pianoforte in the album -of Countess Wimpfen, _nee_ Eskeles, on the words of Goethe: "Der edle -Mensch sei huelfreich und gut," [_sic_] which was published in facsimile -in the "Allgemeine Wiener Musikzeitung" on November 23, 1843. Having -traversed the year in our search for material relating to the Mass -in D, the next most significant subject is that which concerned the -Symphony in D minor, on which he worked industriously and which had -been the subject of correspondence between himself and Ries (in London) -for some time before the year opened. On April 6, 1822, Beethoven had -inquired of his old pupil: "What would the Philharmonic Society be -likely to offer me for a symphony?" Ries, evidently, laid the matter -before the directors of the society who, at a meeting on November 10, -"resolved to offer Beethoven fifty pounds for a MS. symphony."[80] Ries -conveyed the information to Beethoven in a letter dated November 15 -and in a reply dated December 20, Beethoven, although he protested that -the remuneration was not to be compared with what other nations might -give, accepted the offer, adding: - - I would write _gratis_ for the first artists of Europe, if I were - not still poor Beethoven. If I were in London, what would I not - write for the Philharmonic Society! For Beethoven can write, God be - thanked, though he can do nothing else in this world. If God gives - me back my health, which has at least improved somewhat, I shall - yet be able to comply with all the requests which have come from - all parts of Europe, and even from North America, and I might yet - feather my nest. - -A glimpse into the occupations, cares and perplexities which beset -Beethoven at this period is given by the first letter in the series -written in the new year--on February 5, which Ries, in his "Notizen," -gives only in part: - - I have no further news to give you about the _Sinfonie_ but - meanwhile you may confidently count on it. Since I have made the - acquaintance here of a very amiable and cultivated man, who holds - an appointment in our imperial embassy at London, he will undertake - later to forward the Symphony to you in London, so that _it will - soon be in London_. Were I not so poor that I am obliged to live by - my pen I would accept nothing at all from the Ph. Society; as it is - I must wait until the fee for the Sinfonie is deposited here. But - to give you an evidence of my affection for and confidence in the - society I have already delivered the new Overture referred to in my - last letter, to the gentleman of the Imperial society.[81] As he is - to start from here for London in a few days he will deliver it to - you in person in London. Goldschmidt will no doubt know where you - live; if not, please tell him, so that this accommodating gentleman - will not be obliged long to hunt you. I leave to the Society all - the arrangements about the Overture which, like the Symphony, it - can keep for 18 months. Not until after the lapse of that time - shall I publish it. And now another request: my brother here, who - keeps his carriage, wanted a lift from me and so, without asking - me, he offered the Overture in question to a publisher in London - named Bosey [Boosey]. Let him wait, and tell him that at present - it is impossible to say whether he can have the Overture or not; - I will write to him myself. It all depends on the Philharmonic - Society; say to him please that my brother made a mistake in the - matter of the Overture; as to the other works which he wrote about, - he may have them. My brother _bought them_ of me in order to - traffic with them, as I observe. _O frater!_ I beg of you to write - to me as soon as possible after you have received the Overture, - whether the Philharmonic Society will take it, for otherwise I - shall publish it soon. - - I have heard nothing of your _Sinfonie_ dedicated to me. If I did - not look upon the _Dedicat_ as a sort of challenge for which I - might give you _Revanche_ I should long ago have dedicated some - work to you. As it is, I have always thought that I must first - see your work. How willingly would I show you my gratitude in - some manner. I am deeply your debtor for so many proofs of your - affection and for favors. If my health is improved by a bath-cure - which I am to take in the coming summer I will kiss your wife in - London in 1824. - -What justification Beethoven had, or imagined he had, for imputing a -dishonorable act to his brother, cannot be said; it is noteworthy, -however, that he does not even mention him in a letter written twenty -days later which reiterates much that had already been set forth, -and offers to send the Symphony at once on receiving word from Ries -accompanied by a draft. He also intends to send six Bagatelles and -asks Ries to traffic, as best he can, with them and two sonatas. Had -he received a dedication from Ries, he says, he would at once have -inscribed the Overture to him. Not long afterward Beethoven wrote -again to Ries. The letter, which has been preserved only in part, is -printed with a few omissions and changes in the "Notizen" (p. 154). -Its significant remark about the new Symphony is that it is to bear a -dedication to Ries; its most valuable contribution, however, refers -to the Mass in D and the explanation which it offers of the fact that -Beethoven sent no invitation to the English court to subscribe for -that work. "In addition to these hardships," Beethoven writes, "I have -many debts to pay, for which reason it would be agreeable to me if you -have disposed of the Mass to send me also the check for it, for by -that time the copy for London will have been made. There need be no -scruples because of the few _souverains_ who are to get copies of it. -If a local publisher made no objections, there ought to be still fewer -in London; moreover, I bind myself in writing that not a note of it -shall appear either in print or otherwise." The poor Archduke-Cardinal -comes in for his customary drubbing, the special complaint now being -that Beethoven is obliged to draw his "wretched salary" with the aid of -a stamp. The letter was placed for delivery in the hands of the amiable -gentleman of the Austrian Embassy whose name we now learn to be Bauer -and who was also the bearer of an address to King George IV[82] which -Ries was to ask Bauer to read, after which the latter was to see to its -delivery into the royal hands and if possible get in return at least -a "butcher's knife or a tortoise"; a printed copy of the "Battle of -Vittoria" was to accompany it. The character of the address to the king -can be guessed at from the following draft for an earlier letter which -was found amongst Schindler's papers: - -[Sidenote: AN APPEAL TO THE KING OF ENGLAND] - - In thus presuming, herewith, to submit my most obedient prayer to - Your Majesty, I venture at the same time to supplement it with a - second. - - Already in the year 1823, the undersigned took the liberty, at - the frequent requests of several Englishmen then living here, to - send his composition entitled "Wellington's Battle and Victory at - Vittoria" which no one possessed at that time (to Your Majesty). - The then Imperial Russian Ambassador, Prince Rasoumowsky, undertook - to send the work to Your Majesty by a courier. - - For many years the undersigned cherished the sweet wish that Your - Majesty would graciously make known the receipt of his work to him; - but he has not yet been able to boast of this happiness, and had - to content himself with a brief notice from Mr. Ries, his former - worthy pupil, who reported that Y. M. had been pleased graciously - to deliver the work to the then Musical Director, Mr. Salomon - and Mr. Smart for public performance in Drury Lane Theatre. This - appears also from the English journals, which added, as did Mr. - Ries, that the work had been received with extraordinary favor - not only in London but elsewhere. Inasmuch as it was extremely - humiliating to the undersigned to learn all this from indirect - sources, Y. M. will surely pardon his sensitiveness and graciously - permit him to observe that he spared neither time nor cost to lay - this work before your exalted person in the most proper manner in - order to provide a pleasure for Y. M. - - From this the undersigned concludes, that it may have been - improperly submitted to Y. M. and inasmuch as the most obedient - petition which is now submitted, enables him again to approach Y. - M., he takes the privilege of handing to Y. M. accompanying printed - copy of the Battle of Vittoria in score, which has been set aside - for this purpose ever since 1815 and which has been retained so - long because of the uncertainty felt by the undersigned concerning - the matter. - - Convinced of the lofty wisdom and graciousness which Y. M. has - hitherto shown toward art and artists to their appreciation and - good fortune, the undersigned flatters himself that Your Majesty - will graciously condescend to take all this in consideration and - grant his most humble petition. - - [_Convaincu de la haute sagesse dont Votre Majeste a toujours su - apprecier l'art ainsi que de la haute faveur qu'elle accorde a - l'artiste le soussigne se flatte que Votre Majeste prendra l'un - et l'autre en consideration et vaudra en grace condescendre a sa - tres-humble demande._] - - _a Vienne le 24 fevrier._ - -There are other letters to Ries which must be considered later. They -do not bear out Schindler's contention that an estrangement had taken -place between former master and pupil, but were it not that Beethoven's -utterances on that point were chronic when negotiating sales of his -works it might be said that they show that his burden of debt rested -with peculiar grievousness upon him at this time. That it did trouble -him more than ordinarily is otherwise evidenced. In April Schindler -writes: "Don't think night and day about your debts. When you are -well again you'll pay them without feeling it." Steiner, who may have -thought that consideration was no longer incumbent on him, now that -Beethoven was offering his works to other publishers, pressed him -for the money which he had loaned him and threatened to sue him for -800 florins. Beethoven presented a counter-claim and demanded that -Steiner publish a number of compositions which he had purchased but had -not issued. The debt to Brentano also distressed him. He had as yet -received nothing from the royal subscribers to the _Missa Solemnis_. He -appealed to his brother Johann to go security for him, but he refused. -Then he consulted Dr. Bach, who advised him to dispose of one of the -seven shares of bank stock which he had purchased after his stroke of -fortune at the time of the Congress of Vienna. Schindler was called on -to act as fiscal agent in what must have seemed a complicated matter to -Beethoven, since at another time he had wanted to hypothecate a share -and, on getting it out of its hiding-place, learned that all he had to -do to get the money he needed was to cut off a coupon and collect it. -Now he writes to Schindler: - - Do not forget the B. A. (bank share); it is highly necessary. I - should not like to be sued for nothing and less than nothing. The - conduct of my brother is worthy of him. The tailor is coming to-day - and I hope to turn him away without unpleasantness. - -Another note to the same: - - Try to find some philanthropist who will make me a loan on a bank - share, so that, first, I need not put too severe a strain on the - generosity of my only (the word is indistinct) friend v. B. and may - not myself get in need because of the withholding of this money due - to the beautiful arrangement made by my dear brother! - -On a separate scrap of paper is written: "It must not appear that the -money is needed." The date of this note is fixed by the circumstance -that it is the one in which Beethoven asks Schindler to draw up a list -of courts to which the invitations to subscribe to the Mass were to be -sent. In still another note he refers to bank shares which evidently -were to be hypothecated. It was while in this distressful state -concerning his debts that he took the first steps toward making his -nephew his legal heir. On March 6, 1823, he wrote to Bach: - - Death might come unannounced and give no time to make a legal - will; therefore I hereby attest with my own hand that I declare my - nephew Karl van Beethoven to be my universal heir and that after - my death everything without exception _which can be called my - property shall belong to him_. I appoint you to be his curator, and - if there should be no testament after this you are also authorized - and requested to find a guardian for my beloved nephew--to the - exclusion of my brother Johann van Beethoven--and secure his - appointment according to law. I declare this writing to be valid - for all time as being my last will before my death. I embrace you - with all my heart. - -The words excluding Johann from the guardianship were written on the -third page of the document and on the first there was this addition: -"NB. In the way of capital there are 7 shares of bank stock; whatever -else is found in cash is like the bank shares to be his." Shortly -before his death he reiterated this bequest with modifications entailed -by changed conditions. - -The origin of a canon which Beethoven improvised at the coffee-house -"Zur goldenen Birne" on February 20 to the words "Bester Herr Graf, Sie -sind ein Schaf" is said by Schindler to have been a discussion between -the composer and Count Lichnowsky concerning a contract with Steiner. -Obviously, Beethoven and his adviser had disagreed. - -[Sidenote: SEEKS APPOINTMENT AS COURT COMPOSER] - -In November 1822, Anton Tayber, Imperial Court Composer, died. -Beethoven applied for the appointment as his successor and Counts -Lichnowsky and Dietrichstein entered the lists for him. Beethoven made -a personal appeal to Dietrichstein, who was the "Court Music-Count" -who, on February 23, 1823, disclosed the plan which had been conceived -to promote Beethoven's interests with the Emperor in a letter to -Lichnowsky: - - It would have been my duty long ago to reply to good Beethoven, - since he came to me so trustfully. But after I had spoken with - you I decided to break silence only after I had received definite - information on the subject in question. I can now tell you - positively that the post held by the deceased Tayber--who was not - Chamber but Court Composer--is not to be filled again. I do not - want to write to Beethoven because I do not like to disappoint a - man whom I so sincerely respect, and therefore I beg of you when - occasion offers to let him know the fact and then to inform me when - and where I may meet him, as I have forgotten where he lives. - - I am also sending you herewith the score of a mass by Reutter - which Beethoven wished to see. It is true that H. M. the Emperor - is fond of this style, but Beethoven, if he writes a mass, need - not adhere to it. Let him follow the bent of his great genius and - have a care only that the mass be not too long or too difficult - to perform;--that it be a _tutti_ mass and have only short - soprano and alto solos in the voices (for which I have two fine - singing-boys)--but no tenor, bass or organ solos. If he wishes he - may introduce a violin, oboe or clarinet solo. - - His Majesty likes to have fugues well worked out but not too long; - the _Sanctus_ and _Osanna_ as short as possible, in order not to - delay the transubstantiation, and--if I may add something on my - own account--the _Dona nobis pacem_ connected with the _Agnus Dei_ - without marked interruption, and soft. In two masses by Handel - (arranged from his anthems), two by Naumann and Abbe Stadler, this - makes a particularly beautiful effect. These in brief, as results - of my experience, are the things which are to be considered and - I should congratulate myself, the court and art if our great - Beethoven were soon to take the work in hand. - -On March 10 Dietrichstein sent Beethoven three texts for graduals and -a like number for offertories from which to choose words to be used -in the mass to be composed for the emperor. On the count's letter -Beethoven wrote the memorandum: "Treat the gradual as a symphony with -song--does it follow the _Gloria_?" Here we have some light on the -subject which came up for thought during the account of Beethoven's -negotiations with publishers for the Mass in D. It would seem to -appear that Beethoven was much pleased with the interest manifested -in his application by Count Dietrichstein, and looked with auspicious -eye upon the latter's plan to put him into the Emperor's good books. -There can scarcely be a doubt but that he gave considerable thought -to the proposed mass even while still at work on the Mass in D. He -conceived the plan of accompanying the _Kyrie_ with wind-instruments -and organ only in a "new mass," as he designates it, and sketches for -a _Dona nobis pacem_ which have been found "for the mass in C-sharp -minor" point to a treatment which may be said to be in harmony, so -far as can be seen, with Count Dietrichstein's suggestions. On one -occasion he writes to Peters that he had not made up his mind which -mass he should have, and on another that he had three masses, two -other publishers having asked for such works. He tells Schindler that -reports that the Mass in D was not finished were to be denied because -they were not true, the unfinished numbers being additions. So also -he writes to the Archduke. These additions were to be a gradual, an -offertory, and a setting of the hymn _Tantum ergo sacramentum_, and it -is a fair presumption, since appropriate texts for the first two were -sent to Beethoven by Count Dietrichstein, that they were contemplated -in connection with the mass for the emperor and that possibly after -the abandonment of that project they were associated with the Mass in -D. Nothing is known of the music which Beethoven had in mind for these -additional numbers, but many sketches are lost and there is no knowing -how much music which was never written out Beethoven carried in his -head.[83] - -Beethoven spoke of the "second" mass to others besides the publishers. -Nothing came of it, however. He decided to postpone work on the mass -for the Emperor, pleading the pressure of other obligations in the -letters of thanks which he sent to Counts Lichnowsky and Dietrichstein. -They and Archduke Rudolph were greatly disappointed and, if Schindler -is to be believed, the Archduke and Lichnowsky rebuked him.[84] - -[Sidenote: CONSIDERATION OF OPERATIC SUBJECTS] - -In this period, too, the alluring vision of a new opera presented -itself, haunted the minds of Beethoven and his friends for a space -and then disappeared in the limbo of unexecuted projects. "Fidelio" -had been revived on November 3, 1822, at the Kaernthnerthor Theatre. -Its success was so great that the management of the theatre offered -a commission to Beethoven for a new opera. Beethoven viewed the -proposition favorably and his friends hailed it with enthusiasm, -especially Count Moritz Lichnowsky. Beethoven's love for classic -literature led him to express a desire for a libretto based on some -story of the antique world. He was told that such stories were all -worn threadbare. In the Conversation Books we see what suggestions -were offered by others: a text by Schlegel; Voltaire's tragedies; -Schiller's "Fiesco." Local poets and would-be poets were willing to -throw themselves into the breach. Friedrich August Kanne, editor of -the musical journal published by Steiner and Co., wrote a libretto -which Beethoven sent to Schindler with a note saying that except for -the fact that the first act was rather lukewarm it was so admirably -written that it really did not require the collaboration of "one of the -first composers," adding, "I do not want to say that it is just the -most suitable thing for me, but if I can rid myself of obligations to -which I am bound, who knows what might--or will--happen!" Lichnowsky -tells Beethoven in February that he is determined to see Grillparzer, -with whom he evidently wants to talk about an opera-book on "Macbeth" -or "Romeo and Juliet." Brother Johann brings Beethoven a proposition -from Johann Sporchil, historian and publicist, and Sporchil, receiving -encouragement, submitted a work act by act to the composer, who wrote -comments on the manuscripts but never did more.[85] Lichnowsky hears -of an opera on "Alfred the Great," said to be very beautiful and full -of spectacular pomp. He will bring it to the composer in a few days. -The Count has also written to Grillparzer, and Beethoven, recalling -that he is an old acquaintance, resolves to visit him. Lichnowsky's -suggestion bore fruit of a kind. Grillparzer has left us an account -of his attempt to collaborate with Beethoven on an opera in his -"Erinnerungen an Beethoven."[86] The request for a libretto, he says, -came to him through Count Dietrichstein and was somewhat embarrassing -to him because of his unfamiliarity with the lyric drama and his doubts -touching Beethoven's ability, after his later works, to compose an -opera. Finally, however, he decided to make the attempt, and submitted -a subject to Beethoven's friends and then to Beethoven himself. It -was a semi-diabolical story drawn from Bohemian legendary history, -entitled "Dragomira." It met with Beethoven's approval and he agreed to -write it, but afterward changed his mind and took up the fairy tale of -Melusina. Of the manner in which he treated this subject Grillparzer -says: - -[Sidenote: GRILLPARZER AND HIS "MELUSINA"] - - So far as possible I banished the reflective element and sought, - by giving prominence to the chorus, creating powerful finales and - adopting the melodramatic style for the third act, to adjust myself - to Beethoven's last period. I avoided a preliminary conference with - the composer concerning the subject-matter, because I wanted to - preserve the independence of my views. Moreover, it was possible to - make alterations, and in the last instance it rested with him to - compose the book or not to compose it, as he listed. In order not - to coerce him in the least I sent him the book by the same channel - which had brought me the call. He was not to be influenced by - personal considerations or embarrassed in any manner whatsoever. - -The book appealed to Beethoven, but several conferences between him -and the poet were necessary before it was brought into satisfactory -shape. Grillparzer had excluded much of the material in the old legend -which was unsuited to dramatic treatment, and strengthened the plot -with conceits of his own invention. As soon as he had sent the text he -went to Beethoven at Schindler's request. At first blush Beethoven was -much pleased with the book, and he wrote Grillparzer a letter which -delighted the poet. Grillparzer describes the visit to Beethoven at his -lodgings in the Kothgasse which he made in company with Schindler: - - I found him lying in soiled night wear on a disordered bed, a book - in his hand. At the head of the bed was a small door which, as I - observed later, opened into the dining-room and which Beethoven - seemed in a manner to be guarding, for when subsequently a maid - came through it with butter and eggs he could not restrain himself, - in the middle of an earnest conversation, from throwing a searching - glance at the quantity of the provisions served--which gave me a - painful picture of the disorder prevailing in his domestic economy. - - As we entered Beethoven arose from the bed, gave me his hand, - poured out his feelings of good-will and respect and at once - broached the subject of the opera. "Your work lives here," said - he, pointing to his heart; "I am going to the country in a few - days and shall at once begin to compose it. Only, I don't know - what to do with the hunters' chorus which forms the introduction. - Weber used four horns; you see, therefore, that I must have eight; - where will this lead to?" Although I was far from seeing the need - of such a conclusion I explained to him that without injury to the - rest of the book the hunters' chorus could be omitted, with which - concession he seemed to be satisfied, and neither then nor later - did he offer any objection to the text or ask that a change be - made. He even insisted on closing a contract with me at once. The - profits of the opera should be divided evenly between us, etc. I - declared to him, and truthfully, that I had not thought of a fee - or anything of the kind while at work.... Least of all was it to - be the subject of conversation between us. He was to do with the - book what he pleased--I would never make a contract with him. After - a good deal of talk (or rather of writing, for he could no longer - hear speech) back and forth, I took my leave, promising to visit - him in Hetzendorf after he had settled himself there. - - I had hoped that he had given up all thoughts of business in regard - to the matter; but a few days later my publisher, Wallishauser, - came to me and said that Beethoven insisted upon the execution of - a contract. If I could not make up my mind, Wallishauser suggested - that I assign the property-right in the book to him and he would - arrange with Beethoven, who was already advised of such a step. - I was glad to get rid of the business, let Wallishauser pay me a - moderate sum, and banished the matter from my thoughts. Whether or - not they made a contract I do not know. - -Otto Jahn's notes of a conversation with Grillparzer state that -Beethoven made a contract with Barbaja, who was the _de facto_ manager -of the Kaernthnerthor Theatre, for 6,000 florins, W. W. (2,500 C. M.). -Shortly afterward Barbaja abandoned the contract, saying to Beethoven -that he knew that though he was bound by it he could not use the opera. -Thereupon Beethoven tore up the document. On April 20, 1824, Duport -wrote to Beethoven that Barbaja had sent word from Naples that he would -like to have an opera by Beethoven and would give time and terms as -soon as he received assurance that his contract for the theatre would -be extended from December 1. The extension was not granted. Schindler -denied that a contract between manager and composer ever existed. - -Grillparzer kept his promise to visit Beethoven at Hetzendorf, going -thither with Schindler. Part of his account may best be given in his -own words: - - We took a promenade and entertained each other as well as was - possible half in conversation, half in writing, while walking. - I still remember with emotion that when we sat down to table - Beethoven went into an adjoining room and himself brought forth - five bottles. He set down one at Schindler's plate, one at his own - and three in front of me, probably to make me understand in his - wild and simple way that I was master and should drink as much as I - liked. When I drove back to town without Schindler, who remained in - Hetzendorf, Beethoven insisted on accompanying me. He sat himself - beside me in the open carriage but instead of going only to the - edge of the village, he drove with me to the city, getting out - at the gates and, after a cordial handshake, starting back alone - on the journey of an hour and a half homeward. As he left the - carriage I noticed a bit of paper lying on the seat which he had - just vacated. I thought that he had forgotten it and beckoned him - to come back; but he shook his head and with a loud laugh, as at - the success of a ruse, he ran the faster in the opposite direction. - I unrolled the paper and it contained exactly the amount of the - carriage-hire which I had agreed upon with the driver. His manner - of life had so estranged him from all the habits and customs of - the world that it probably never occurred to him that under other - circumstances he would have been guilty of a gross offence. I took - the matter as it was intended and laughingly paid my coachman with - the money which had been given to me.[87] - -In a Conversation Book used during the visit to Hetzendorf may be read -one side of a conversation about "Melusine" which permits us to observe -the poet's capacity to look into the future: - - Are you still of the opinion that something else ought to be - substituted for the first chorus of our opera? Perhaps a few tones - of the hunting-horns might be continued by an invisible chorus of - nymphs. I have been thinking if it might not be possible to mark - every appearance of Melusine or of her influence in the action by a - recurrent and easily grasped melody. Might not the overture begin - with this and after the rushing _Allegro_ the introduction be made - out of the same melody? I have thought of this melody as that to - which Melusine sings her first song. - -Grillparzer speaks of "Dragomira," promises to send the plot to -Beethoven in writing and makes many observations concerning music and -musicians which must have interested Beethoven even when he did not -agree with him. He asserts that on the whole the North Germans know -little of music--they will never produce anything higher than "Der -Freischuetz." Also he has a good word for Italian opera: - - And yet I cannot agree with those who unqualifiedly reject Italian - opera. To my mind there are two kinds of opera--one setting out - from the text, the other from the music. The latter is the Italian - opera. Lablache, and in a degree Fodor, are better actors than the - Germans ever had. Perhaps Mozart formed himself on the Italian - opera. It is worse now. You would have trouble to find singers for - your opera. - -[Sidenote: ADVICE SOUGHT FROM FRIENDS] - -There are many others with whom Beethoven discussed the opera and -who came to him to tell him of their desire to see it written. -Duport is greatly interested, wants to read the book with care and -asks Beethoven's terms; Lichnowsky is willing to risk the financial -outcome; "I will go security," he says in October, "for the money -which you want for the opera. After selling the opera to the director -you can still reserve the right of disposing of it at home and -abroad." And again: "If you do not compose the opera it will be all -day with German opera--everybody says that. After the failure of -Weber's opera 'Euryanthe' many sent the books back. 'Freischuetz' is -not a genuine opera. If you can use me in any way, you know me and -how sincere I am"; and still again, towards the end of November: "You -will get incomparably more without a contract; if you want one, the -director will make a contract with pleasure at once. Talk it over with -Grillparzer; it will also be all one to him. Duport already asked about -the opera several days ago." From other quarters Beethoven is urged -to write to Duport after the latter had written to him. In a letter -which must have been written late in the year, since Beethoven is back -in his town lodgings, he writes to Grillparzer telling him that the -management had asked for his (Grillparzer's) terms and suggesting that -he write directly to the management and he would do the same.[88] A -later conversation which must have taken place toward the close of -the year (and may have been the result of this letter) begins with a -complaint by Grillparzer against the censorship for having forbidden -his "Ottokar." Beethoven's part in the dialogue may easily be supplied -by the imagination, and it will be seen that he is still unreconciled -to the opening chorus. - - You have again taken up "Melusine?" I have already appealed to - the management twice but have had no answer.--I have already - said that I was compelled to ask 100 ducats for it.--Because as - a matter of fact, all the profits of an opera-book remain with - the theatre in which it is performed for the first time.--I could - have made a spoken drama out of the same material which would have - brought me three times as much--I _must_ ask so much in order to - meet my obligations to Wallishauser. For ordinary opera-books - they pay up to 300 florins C. M. Have you already begun to - compose?--Will you please write down for me where you want the - changes made?--Because then, nevertheless, the piece will _have_ - to begin with a hunt.--Perhaps the last tones of a vanishing - hunters' chorus might blend with the introduction without having - the hunters enter.--To begin with a chorus of nymphs might weaken - the effect of the chorus at the close of the first act.--I am - not quite versed in opera texts.--You want to deliver it to the - theatre by September.--The direction wants to make a creditable - showing in the eyes of the public.--Doesn't the text of the opera - also seem too _long_ to you?--To whom are you thinking of giving - the role of _Raimund_?--They are talking of a young tenor who may - have made his debut by that time. I believe his name is Cramolini; - besides a handsome figure he is said to have a beautiful voice.--It - is said that the direction is having him educated.--Forti is a - little too gross.--Then I am to expect your written suggestion as - to alterations, soon?--I am not busy at present.--I am ready for - anything. - -For a space there is talk about oratorio texts ("Judith") and the -possibility of musical expression in the case of Christ. Then the text -of "Dragomira" is referred to, concerning which Beethoven seems to have -asked. Grillparzer says: - - Dragomira. Great variety--great characters, effects.--The mother - of St. Wenzelaus, the Duke of Bohemia.--One of her sons kills the - other. She herself is a pagan, the better son is a Christian. They - still show the spot in Prague where she was swallowed up by the - earth with horses and equipage.--After I have lost all hope _here_ - I shall send it to Berlin. - -There is much more talk in the Conversation Book about the opera, but -neither sequence nor date can always be determined. Lichnowsky tells -him that the management of the theatre is willing to do anything -asked of it and is negotiating with Grillparzer. Brother Johann says: -"Grillparzer is coming to-morrow--that is no affair of yours.--You -wrote to the management to make arrangements with the poet, and to this -it was agreed; hence Grillparzer must make terms." In the same book -Schikh, the editor, writes: "Why don't you compose Grillparzer's opera? -Write the opera first and then we shall be in a position to wish you -also to write a Requiem." - -[Sidenote: GRILLPARZER PARTS WITH BEETHOVEN] - -Grillparzer says that Beethoven told him in Hetzendorf that his opera -was ready (whether he meant in his head or in its essential elements -in the numerous sketchbooks, the poet could not say), but after the -composer's death not a single note was found which could indubitably -be assigned to their common work. The poet had faithfully adhered to -his resolve not to remind the composer of the work in any way and "was -never near him again until, clad in black and carrying a burning torch -in my [his] hand," he walked behind his coffin. Grillparzer's memory -is faulty in a few details. He says that he never met Beethoven after -the visit to Hetzendorf except once; but the two men were together -again in 1824. This, however, is inconsequential; the fact remains that -Beethoven did not compose "Melusine."--Why not? Many reasons must be -obvious to those who have followed this narrative closely: illness; -vexation of spirit; loss of initiative; a waning of the old capacity -to assimilate conceptions and ideas which did not originate in his -own consciousness and were not in harmony with his own predilections. -Moreover, it was the period of his greatest introspection; he was -communing more and more with his own soul, and separating himself more -and more from all agencies of utterance except the one which spoke most -truthfully and directly within him, and to which he entrusted his last -revelations--the string quartet. "Melusine" was not composed, but the -opera continued to occupy his attention at intervals until deep into -the next year, and unless Holz is in error, some of his last labors -were devoted to it. Too literal an acceptance must not, therefore, be -given to Schindler's statement that he "suddenly" abandoned the plan of -writing a German opera because he learned that the similarity between -the subjects of "Melusine" and "Undine" would embarrass the production -of the former in Berlin. - -[Illustration: B A C H] - -A project which cropped out intermittently during 1823 was the writing -of an overture on the musical motive suggested by the letters composing -the name of Bach. The thought seems to have become fixed in his mind -in 1822, though the device of using as a motive in composition was -at least as old as the Leipsic master's "Art of Fugue," and no doubt -familiar to Beethoven. However, he was deeply engrossed in fugal -writing at this period and it is very likely, as Nottebohm suggests, -that he conceived an overture on the motive as a tribute to Bach's -genius. Several sketches showing different forms of the theme appear -in the books of 1823; and a collateral memorandum, "This overture with -the new symphony, and we shall have a concert (_Akademie_) in the -Kaernthnerthor Theatre," amongst sketches for the last quartets in -1825, shows that he clung to the idea almost to the end. Had Beethoven -carried out all the plans for utilizing the theme which presented -themselves to him between 1822 and 1825, there would have been several -Bach overtures; unfortunately, he carried out none. - -[Sidenote: BEETHOVEN AND THE BOY LISZT] - -On April 13, 1823, the boy Franz Liszt, who was studying with Carl -Czerny and had made his first public appearance on the first day of -the year, gave a concert in the small Ridotto room. Together with his -father he had been presented to Beethoven by Schindler, but had not -been received with any special marks of friendliness. The precocious -boy gave expression to the hope that Beethoven would attend his -approaching concert.[89] Later in the Conversation Book: - - Little Liszt has urgently requested me humbly to beg you for a - theme on which he wishes to improvise at his concert to-morrow. He - will not break the seal till the time comes. The little fellow's - improvisations do not seriously signify. The lad is a fine pianist, - but so far as his fancy is concerned it is far from the truth - to say that he really improvises (_was Phantasie anbelangt, so - ist es noch weit am Tage bis man sagen kann, er phantasiert_). - Czerny (Carl) is his teacher. Just eleven years. Do come; it will - certainly please Karl to hear how the little fellow plays. It is - unfortunate that the lad is in Czerny's hands.--You will make good - the rather unfriendly reception of recent date by coming to little - Liszt's concert?--It will encourage the boy.--Promise me to come. - -Did Beethoven attend the concert, and did he afterwards go upon the -stage, lift up the prodigy and kiss him? So the world has long believed -on the authority of Nohl,[90] who got the story from Liszt himself. -Schindler ought to be a good witness in this case, since he pleaded -the cause of the little lad before his great friend; but unfortunately -Schindler in this instance gives testimony at one time which he -impeaches at another. In the second edition of his "Biography of -Beethoven" (Muenster, 1845, second appendix, page 71, note) he says: - - One can never know if a child will grow into a man, and if so what - kind of man; so I could not foresee when I introduced the promising - boy Liszt and his father in 1823, to Beethoven, what kind of - musical vandal would grow out of this young talent. Did Beethoven - have a premonition? The reception was not the usual friendly one - and I had reason at the time not to be particularly satisfied, - since the prodigy had interested me in an unusual degree. Beethoven - himself noticed that he had been somewhat lax in his interest in - little Franz, which made it easy to persuade him to honor the - concert of little Liszt with his presence in order to atone for the - indifference he had first shown. - -In the third edition of his book (1860, Part II, p. 178) he says: - - The author knows of only one reception to which the term "friendly" - can not be applied. It was in the case of little Franz Liszt, who, - accompanied by his father, was presented by me. This unfriendliness - grew out of the excessive idolization of this truly sensational - talent; but chiefly it was due to the request made of Beethoven - to give the twelve-year-old lad a theme for improvisation at - his farewell concert--a request which was as indiscreet as it - was unreasonable. But hyperenthusiasm always betrays a want of - timeliness. It is not impossible that this enthusiasm, after - Beethoven had declined the request with obvious displeasure, yet - managed to secure from Emperor Franz, or at least Archduke Rudolph, - a theme for the young virtuoso. The idolatry of the wonder-child - gave the master, who had gone through so severe a school of - experience, a text for many observations on the hindrances and - clogs to the equable development of extraordinary talents as soon - as they were made the darlings of the multitude. Sketches of the - life of Liszt have stated that Beethoven attended the farewell - concert of 1823; in Schilling's encyclopaedia it is added that - Beethoven at this concert shook the hand of little Liszt and - thereby designated him as worthy of the name of artist. Beethoven - did _not_ attend the concert; nor any private concert after - 1816.[91] - -The visit of Louis Schloesser, afterwards chapelmaster in Darmstadt, -who delivered the message from the Grand Duke of Hesse-Darmstadt, -took place in the spring of the year. His description of the visit -was printed in the journal "Hallelujah" in 1885 (Nos. 20 and 21). -Schloesser revisited him later and met him afterwards in town, walking -with him to Steiner, whom he said he was about to take to task for a -remissness. "When it comes to the publication of a new work," Beethoven -said, "they would like to postpone it as long as possible, even till -after my death, thinking thus to do a better business with it; but I -shall checkmate them." Schloesser was surprised on this occasion to -find Beethoven dressed with unwonted elegance and remarked the fact to -Mayseder, who explained, with a smile, that it was not the first time -that his friends had stolen his old clothes at night and left new ones -in their place. Mayseder added that the substitution was never noticed -by Beethoven, who donned the garments with perfect calmness. Schloesser -observes that he never detected the least sign of absentmindedness in -Beethoven. - -At the last meeting between the men Schloesser showed Beethoven one of -his compositions, a somewhat complicated work. Beethoven looked through -it and observed: "You write too much; less would have been better. -That's the way of our young heaven-stormers who think that they can -never do enough. But that will change with riper age, and I prefer a -superabundance to a paucity of ideas." To the question how this might -be attained Schloesser says Beethoven replied "literally": - - I carry my thoughts about me for a long time, often a very long - time, before I write them down. Meanwhile my memory is so tenacious - that I am sure never to forget, not even in years, a theme that has - once occurred to me. I change many things, discard and try again - until I am satisfied. Then, however, there begins in my head the - development in every direction and, insomuch as I know exactly what - I want, the fundamental idea never deserts me--it arises before me, - grows--I see and hear the picture in all its extent and dimensions - stand before my mind like a cast and there remains for me nothing - but the labor of writing it down, which is quickly accomplished - when I have the time, for I sometimes take up other work, but never - to the confusion of one with the other. You will ask me where I - get my ideas? That I can not tell you with certainty; they come - unsummoned, directly, indirectly,--I could seize them with my hands - out in the open air; in the woods; while walking; in the silence - of the night; early in the morning; incited by moods which are - translated by the poet into words, by me into tones,--sound and - roar and storm about me until I have set them down in notes. - -At parting, Beethoven gave Schloesser a sheet containing a canon -for six voices on the words, "Edel sei der Mensch, huelfreich und -gut," with the inscription: "Words by Goethe, tones by Beethoven. -Vienna, May, 1823." On the back he wrote: "A happy journey, my dear -Herr Schloesser, may all things which seem desirable come to meet -you. Your devoted Beethoven."[92] Judging by the position of the -canon in the Rudolphinian Collection, Nottebohm was of the opinion -that it was composed at an earlier date, say 1819-20. Beethoven also -gave Schloesser, who was going to Paris, a letter of introduction -to Cherubini which accomplished his acceptance as a pupil of the -Conservatoire. - -Our old friend Schuppanzigh, after an absence of seven years, returned -to Vienna in 1823. On May 4 he gave a concert at which Piringer -conducted the orchestra, and on June 14 the quartet meetings were -resumed, with Holz, Weiss and Linke as his associates. - -[Sidenote: VARIATIONS ON A WALTZ BY DIABELLI] - -Schindler places the incident which gave the incentive to the creation -of the last of Beethoven's characteristic works for the pianoforte, -the "Variations on a Waltz by Diabelli," Op. 120, in the winter of -1822-'23. In this, as will appear presently, he was in error, as he -was also touching the date of the completion of the composition, but -otherwise his story is no doubt correct. Anton Diabelli, head of the -music-publishing house of Diabelli and Co., having composed a waltz, -conceived the idea of having variations written on its melody by a -large group of the popular composers of the day. Beethoven was among -those who received the invitation, but, mindful of his experiences -in 1808, when he contributed a setting of "In questa tomba" to a -similar conglomeration, he declared that he would never do so again. -Moreover, so Schindler says, he did not like the tune, which he called -a _Schusterfleck_.[93] He declined Diabelli's request, but not long -afterward asked Schindler to inquire of Diabelli if he were disposed -to take from him a set of variations on the waltz, and if so, what -he would pay. Diabelli received the proposition with delight and -offered 80 ducats, requiring not more than six or seven variations. -The contract was formally closed and Beethoven remarked to Schindler: -"Good; he shall have variations on his cobble!" This the story as told -by Schindler. Lenz, who claimed to have the authority of Holz for his -version, says that after receiving thirty-two variations from other -composers, Diabelli went to Beethoven and asked him for the one which -he had promised. Beethoven inquired how many variations he already had -and when Diabelli replied "Thirty-two" he said: "Well, go and publish -them and I alone will write you thirty-three." This story, however, -lacks probability. Lenz himself says that Diabelli told him that -Beethoven had not agreed to write for him; hence he could not have -asked for the "promised" variation. But Schindler is also wrong in -saying that the variations were the first work taken up by Beethoven -after his removal to Hetzendorf in the summer of 1823 and that they -were published in July. They were advertised as published by Diabelli -in the "Wiener Zeitung" on June 16, 1823, and there are other dates -to corroborate the evidence that they were finished when Beethoven -removed to Hetzendorf on May 17. On May 7 Beethoven offered them for -publication to Lissner in St. Petersburg; on April 25 he wrote to -Ries: "You will also receive in a few weeks 33 variations on a theme, -dedicated to your wife," and on July 16: "By this time the variations -must be with you." The date of Diabelli's conception of the plan was -probably a whole year, even two years earlier than the date given by -Schindler. In a letter dated June 5, 1822, Beethoven offered to Peters -"Variations on a Waltz for pianoforte solo (there are many)" for 30 -ducats; they must therefore have been far advanced in composition and -fully planned at that time. Nottebohm says that Schubert's contribution -to the collection of variations bears on the autograph the date "March, -1821." The Variations appeared from the press of Diabelli and Co. in -June, with a dedication to Mme. Antonia von Brentano; not, it will be -observed, to the wife of Ries. Had there been an English edition there -would have been such a dedication, but it is another case in which an -English publisher was disappointed in the conduct of the composer. Ries -had complied with Beethoven's solicitations and secured a publisher. -He closed an agreement with Boosey; but when the manuscript reached -London, Boosey was already in possession of a copy of the Vienna -edition and the work had also been printed in Paris. The copy made -for London bore a dedication written in large letters by Beethoven to -Madame Ries; but the printed copies were inscribed to Madame Brentano. -Beethoven attempted an explanation and defence in a letter to Ries -dated Baden September 5: - - You say that I ought to look about me for somebody to look after - my affairs. This was the case with the _Variat._ which were cared - for by my friends and Schindler. The _Variat._ were not to appear - here until after they had been published in London. The dedication - to B---- (not clear) was intended only for Germany, as I was - under obligations to her and could publish nothing else at the - time; besides only Diabelli, the publisher here, got them from - me. Everything was done by Schindler; a bigger wretch I never got - acquainted with on God's earth--an arch-scoundrel whom I have sent - about his business. I can dedicate another work to your wife in - place of it. - -How much blame in this affair really attached to Schindler is not -known; it seems pretty apparent that though Beethoven was also fuming -against him at the time at home, he was doing duty in London as a -whipping-boy. Beethoven went right on calling in the help of the -"biggest wretch on earth and arch-scoundrel." - -[Sidenote: TROUBLED BY HIS EYES AT HETZENDORF] - -After the labors and vexations of town life in the winter, the call of -the country in the summer was more than usually imperative, because the -work which had long occupied Beethoven's mind--the Ninth Symphony--was -demanding completion. His brother Johann had invited him to visit -him on his estate near Gneixendorf, but he had declined. His choice -for the summer sojourn fell upon Hetzendorf, a village not far from -Vienna, where he hit upon a villa, surrounded by a beautiful park, -which belonged to Baron Mueller-Pronay. There was some haggling about -the rent and some questioning about the post service--an important -matter in view of the many negotiations with publishers, in all of -which Schindler was depended on--but eventually all was arranged. -Ill health marred the Hetzendorf sojourn. Beethoven's other ailments -were augmented by a painful affection of the eyes which called for -medical treatment, retarded his work and caused him no small amount of -anxiety. Complaints on this score began in April and were continued -through July, on the 15th of which month he writes to the Archduke, "My -eyes are better, but improvement is slow. It would be more rapid if -I were not obliged to use glasses; it is an unfortunate circumstance -which delays me in everything"; and later, when on a short visit to -Vienna: "I have just heard here that Y. I. H. is coming to-morrow. If -I cannot obey the wishes of my heart, please ascribe it to my eyes. -They are much better, but I must not breathe the town air for many -more days, for it would have ill effects on my eyes." In August, very -shortly before his departure for Baden: "I am feeling really badly, -not my eyes alone. I purpose to drag myself to Baden to-morrow to take -lodgings and in a few days will have to go there to stay. The town air -has an injurious effect on my entire organization and I hurt myself -by going twice to my physicians in the city." From Baden on the 22nd -he complains of a catarrhal affection, the misery in his bowels and -the trouble with his eyes, but adds: "Thank God, the eyes are so much -improved that I can again use them considerably in the daytime. Things -are going better also with my other ailments; more could not be asked -in this short time." - -Among the cheering incidents of the summer were the reports which -reached him of the production of "Fidelio" under the direction of Weber -in Dresden. Weber opened a correspondence on January 28 and continued -it with letters dated February 18, April 7 and June 5; Beethoven's -answers were dated February 16, April 10 and June 9. Most unfortunately -all these letters have disappeared, and the only hints we have as to -their contents are from the draft for Weber's first communication -discovered among the papers of the writer: - - "Fidelio." To Beethoven. The performance in Prague under my - direction of this mighty work, which bears testimony to German - grandeur and depth of feeling, gave me an intimacy, as inspiring - as it was instructive, with the essence through which I hope to - present it to the public in its complete effectiveness here, where - I have all possible means at my command. Every representation will - be a festival day on which I shall be privileged to offer to your - exalted mind the homage which lives in my heart, where reverence - and love for you struggle with each other. - -Weber had received the score of the opera on April 10 from Beethoven, -who had to borrow it from the Kaernthnerthor Theatre, whose musical -archives were in the care of Count Gallenberg. Through Schindler, -Gallenberg sent word to Beethoven that he would send the score, -provided two copies were on hand; if not, he would have a copy made. -Schindler, reporting the message to Beethoven, adds that Gallenberg had -said he thought Beethoven himself had the score: "But when I assured -him that you did not have it he said that its loss was a consequence -of your irregularity and many changes of lodgings."[94] Nevertheless, -Weber got the score and after fourteen rehearsals the representation -took place with great success. Von Koenneritz, Director-General of the -Royal Chapel, reported the triumph to Beethoven and sent Beethoven a -fee of 40 ducats. Beethoven in acknowledging receipt on July 17 is -emboldened "by the account which my dear friend Maria Weber gives me -of the admirable and noble motives of Your Excellency" to ask his -intercession with the Saxon court in behalf of the Mass in D, as has -already been recorded in this chapter. - -A number of incidents may now hurriedly be marshalled. In 1822 the -Royal Academy of Music of Sweden had elected Beethoven to foreign -membership. The consent of the Austrian government was necessary to -his acceptance of the honor and this seems to have been deferred an -unconscionably long time; at least Beethoven's letters to the Academy -and to King Charles XIV (whom as General Bernadotte, then French -ambassador at Vienna, he had known 25 years before) are dated March -1, 1823. When permission came he wrote notes to the editors of the -newspapers "Beobachter" and "Wiener Zeitschrift," asking them to -announce the fact of his election--a circumstance which shows that -he was not always as indifferent to distinctions of all kinds as he -professed occasionally. Franz Schoberlechner, a young pianist, appealed -to him for letters of recommendation to be used on a concert-tour. The -letter reached Beethoven through Schindler, to whom he returned it with -the curt indorsement: "A capable fellow has no need of recommendation -other than from one good house to another." Schindler importuned him -again, and Beethoven wrote to him somewhat testily: "It must be plain -to you that I do not want to have anything to do with this matter. -As for 'being noble' I think I have shown you sufficiently that I am -that on principle; I even think that you must have observed that I -have never been otherwise. _Sapienti sat._" That ended the matter; -but when Chapelmaster Dreschler of the Josephstadt Theatre became a -candidate for the post of second court organist, Beethoven recommended -him enthusiastically to Archduke Rudolph, whom in a second letter he -urged to remain firm notwithstanding that Abbe Stadler had presented -another candidate. Archduke Rudolph spoke to the emperor and Count -Dietrichstein in favor of Drechsler, but in vain. In his letters -Beethoven referred to a canon, "Grossen Dank," which he said he had -written for the Archduke and which he intended to hand him in person. -Sketches for it have been found among those for the third movement of -the Ninth Symphony, but nothing has yet been heard of the completed -work. - -[Sidenote: TROUBLES WITH A COUNTRY LANDLORD] - -Beethoven's domestic affairs continued to plague him. While at -Hetzendorf he had the services of a housekeeper whom he described as -"the swift-sailing frigate" Frau Schnaps, in letters to Schindler. He -has no end of trouble about his town lodging in the Kothgasse where -Schindler was living, and must needs take time to write long letters to -his factotum on the subject. Here is one sent from Hetzendorf on July 2: - - The continued brutality of the landlord, from the beginning as - long as I have been in the house, calls for the help of the R. - I. Police. Go to them direct. As regards the storm-window, the - housekeeper was ordered to look after it and particularly after - the recent severe rain-storm to see if it was necessary to prevent - rain from entering the room; but she found that it had neither - rained in nor could rain in. Believing this, I put on the lock so - that the brutal fellow could not open my room in my absence as he - threatened to do. Tell them further how he behaved towards you and - that he put up the bill without notice, which he has no right to do - before St. James's day.--He has also refused to give me a receipt - from St. George's to St. James' as this paper shows because of the - demand that I pay a charge for lighting of which I knew nothing. - This abominable lodging _without a stove-flue_ and with the most - wretched sort of main chimney has cost me at least 259 florins W. - W. for extra expenses above the rent in order to make it habitable - while I was there in the winter. It was an intentional cheat, - inasmuch as I never saw the lodgings in the first storey but only - in the second, for which reason many objectionable things remained - unknown to me. I can not comprehend how it is possible that so - _shameful a chimney, ruinous to human health, can be tolerated by - the government_. You remember how the walls of your room looked - because of smoke, how much it cost to get rid of some but not all - of the nuisance. The chief thing now is that he be commanded to - take down the notice and to give me the receipt for the rent paid - at any rate. I never had that wretched lighting, but had other - large expenses in order to make life endurable in this lodging. My - sore eyes can not yet stand the town air, otherwise I would myself - go to the imperial police. - -Schindler obeyed instructions; the police director, Ungermann, sent -his compliments to Beethoven, told him that his wishes were all -granted in advance but advised him to pay the 6 florins for lighting -to prevent a scoundrelly landlord from having any kind of hold upon -him--and Schindler got well scolded for his pains! How could he accept -something-or-other from such a churl accompanied by a threat? Where was -his judgment? Where he always kept it, of course! The bill came down, -but Beethoven did not keep the lodging. - -Beethoven's nephew Karl pursued his studies at Bloechlinger's -Institute till in August and then spent his vacation with his uncle -in Baden. He made himself useful as amanuensis and otherwise, and -his words are occasionally found among the notes of conversation. -His mother remains in the background for the time being, which -is providential, for Beethoven has trouble enough with his other -delectable sister-in-law, the wife of Johann, whose conduct reaches -the extreme of reprehensibleness in the summer of 1823, during a spell -of sickness which threw her husband on his back. The woman chose this -time to receive her lover in her house and to make a shameless public -parade of her moral laxness. The step-daughter was no less neglectful -of her filial duties. Accounts of his sister-in-law's misconduct -reached Beethoven's ears from various quarters and he was frank in his -denunciation of her to his brother and only a little more plain-spoken -than Schindler, who was asked by Beethoven to lay the matter before the -police, but managed to postpone that step for the time being.[95] - -[Sidenote: AUTOGRAPHED SHUTTERS IN DEMAND] - -Meanwhile Beethoven was hard at work on the Ninth Symphony. It was so -ever-present with him that there was neither paradox nor hyperbole in -his words: "I am never alone when I am alone." He had much to irritate -him while sketches and drafts of the symphony were piling up before -him in August, and finally, if Schindler is to be believed, he could -no longer endure the obsequious bows with which his landlord, Baron -Pronay, always greeted him, and resolved to abandon the pretty villa -at Hetzendorf and go to Baden. He may have formed the plan earlier in -the year--probably had--but the baron's excessive politeness helped -to turn his departure into something like a bolt. He went to Baden on -a house-hunting expedition with Schindler, and returning, sent his -"swift-sailing frigate" to Schindler with a billet commanding him to -be up and off at 5 o'clock in the morning "_presto prestissimo_." He -knew only one lodging in Baden suited to his requirements--the one -which he had occupied in 1822--but the owner refused to let him have it -again. This owner was a locksmith. To him Schindler was sent. In the -name of his master he made all manner of humble promises concerning -more orderly conduct and consideration for the other tenants, but the -plea was rejected. A second appeal was made and now the houseowner -relented, but made it a condition that Beethoven replace the -window-shutters which had been removed. Beethoven was the more willing -to do this, since he thought it necessary for the sake of his eyes. -The landlord had not divulged the reason for his demand. Beethoven was -in the habit of scrawling all kinds of memoranda on his shutters in -leadpencil--accounts, musical themes, etc. A family from North Germany -had noticed this in the previous year and on Beethoven's departure had -bought one of the shutters as a curiosity. The thrifty locksmith had an -eye for business and disposed of the remaining shutters to other summer -visitors. - -Beethoven had arrived in Baden on August 13 with the help of Schindler, -towards whom he was filled with as much gratitude as can be read in the -following remarks from two letters to his nephew dated August 16 and 23: - - My ruined belly must be restored by medicine and diet, and this I - owe to the _faithful messenger_! You can imagine how I am racing - about, for only to-day did I really begin my service to the muses; - I _must_, though that is not noticeable, for the baths invite me at - least to the enjoyment of beautiful nature, but _nous sommes trop - pauvre et il faut ecrire ou de n'avoir pas de quoi_. - - He (Schindler) was with me only a day here to take a lodging, - as you know; slept in Hetzendorf, and as he said, went back to - Josephstadt in the morning. Do not get to gossipping against him. - It might work him injury, and is he not already sufficiently - punished? Being what he is, it is necessary plainly to tell him - the truth, for his evil character which is prone to trickery needs - to be handled seriously. - -Beethoven's unamiable mood, which finds copious expression in abuse of -Schindler at this juncture, has some explanation (also extenuation, if -that is necessary) in the rage and humiliation with which contemplation -of his brother's domestic affairs filled him. Johann was convalescing -and wrote a letter to the composer which occasioned the following -outburst under date of August 13: - - Dear Brother: - - I am rejoiced at your better health. As regards myself, my eyes - are not entirely recovered and I came here with a disordered - stomach and a frightful catarrh, the first due to the arch-pig of - a housekeeper, the second to a beast of a kitchen-maid whom I have - once driven away but whom the other took back. _You ought not to - have gone to Steiner_; I will see what can be done. It will be - difficult to do anything with the songs _in puris_ as their texts - are German; more likely with the overture. - - I received your letter of the 10th at the hands of the miserable - scoundrel Schindler. You need only to give your letters directly - to the post, I am certain to receive them, for I avoid this mean - and contemptible fellow as much as possible. Karl can not come to - me before the 29th of this month when he will write you. You can - not well be wholly unadvised as to what the two _canailles_, Lump - and Bastard,[96] are doing to you, and you have had letters on the - subject from me and Karl, for, little as you deserve it I shall - never forget that you are my brother, and a good angel will yet - come to rid you of these two _canailles_. This former and present - strumpet who received visits from her fellow no less than three - times while you were ill, and who in addition to everything else - has your money wholly in her hands. O infamous disgrace! Isn't - there a spark of manhood in you?!!!... About coming to you I will - write another time. Ought I so to _degrade_ myself as to associate - with such bad company? Mayhap this can be avoided and we yet pass - a few days with you. About the rest of your letter another time. - Farewell. Unseen I hover over you and work through others so that - these _canailles_ shall not strangle you. - - As always your faithful - Brother. - -There were several visitors to Beethoven at Baden in the summer of 1823 -who have left accounts of their experiences. One was an Englishman, -Edward Schulz, who published his story in the "Harmonicon" in January -1824. This extremely lively letter was reprinted by Moscheles in -his translation (or rather, adaptation) of Schindler's biography -of Beethoven and incorporated in the second German edition, where -Schindler accompanies it with several illuminative glosses which are -less necessary now than they were when the biographer wrote. Schulz -visited Beethoven on September 28 in the company of Haslinger. He -describes it as a _dies faustus_ for him and, as Schindler shrewdly -observes, it must also have been one for Beethoven, since he managed -to hear the conversation of his visitors without the aid of an -ear-trumpet. He talked with great animation, as was his wont when in -good humor, but, says the English visitor, "one unlucky question, one -ill-judged piece of advice--for instance, concerning the cure of his -deafness--is quite sufficient to estrange him from you forever." He -asked Haslinger about the highest possible note on the trombone, but -was dissatisfied with the answer which he received; introduced his -nephew and showed his pride in the youth's attainments by telling his -guest that he might put to him "a riddle in Greek" if he liked. At -dinner during a visit to the Helenenthal he commented on the profusion -of provisions at dinner, saying: "Why such a variety of dishes? Man is -but little above other animals if his chief pleasure is confined to a -dinner-table." A few excerpts from the letter will serve to advance the -present narrative: - -[Sidenote: BEETHOVEN'S TRIBUTE TO HANDEL] - - In the whole course of our table-talk there was nothing so - interesting as what he said about Handel. I sat close by him - and heard him assert very distinctly in German, "Handel is the - greatest composer that ever lived." I can not describe to you - with what pathos, and I am inclined to say, with what sublimity - of language, he spoke of the "Messiah" of this immortal genius. - Every one of us was moved when he said, "I would uncover my head, - and kneel down at his tomb!" H. and I tried repeatedly to turn the - conversation to Mozart, but without effect. I only heard him say, - "In a monarchy we know who is the first"; which might or might - not apply to the subject.... He is engaged in writing a new opera - called "Melusine," the words by the famous but unfortunate poet - Grillparzer. He concerns himself but very little about the newest - productions of living composers, insomuch, that when I asked about - the "Freischuetz," he replied, "I believe _one_ Weber has written - it".... He appears uniformly to entertain the most favorable - opinion of the British nation. "I like," said he, "the noble - simplicity of the English manners," and added other praises. It - seemed to me as if he had yet some hopes of visiting this country - together with his nephew. I should not forget to mention that I - heard a MS. trio of his for the pianoforte, violin and violoncello, - which I thought very beautiful, and as, I understood, to appear - shortly in London. - -Our author's statement that he heard a manuscript pianoforte trio at -this time piques curiosity. Schindler disposes of the question as to -what it may have been in the manner more characteristic of the present -than the past attitude of German writers towards everything English or -American. "Who knows what it was that the non-musical gentleman took -for a trio?" he asks. Evidently Schindler was of the opinion that no -Englishman except, possibly, a professional musician, could count -three or recognize the employment of pianoforte, violin and violoncello -in a piece of music. He is right in scouting the idea that it could -have been the great Trio in B-flat, for that work had long been in -print. Nor is it likely to have been the little trio in the same key -dedicated to Maximiliane Brentano; for though that was not published -at the time, it is not likely that Beethoven would produce it in 1823 -as a novelty. There are in existence sketches for a Trio in F minor -made in 1815, but nothing to show that the work was ever written out. -Had it been in Beethoven's hands at a time when he was turning over -the manuscripts of earlier days, it would surely have been offered to -a publisher; so that is out of the way. There is only one other known -work which invites speculation--the "Adagio, Variations and Rondo," -for pianoforte, violin and violoncello, which Steiner and Co. gave to -the public in 1824, as Op. 121. The variations are on a melody from -Wenzel Mueller's opera "Die Schwestern aus Prag" ("Ich bin der Schneider -Kakadu"). It is at least remotely possible that this was the trio which -the English traveller heard, and if so we have in the fact a hint as to -the time of its origin--the only hint yet given. - -[Sidenote: VON WEBER'S VISIT TO BEETHOVEN] - -A few days after the one just recorded Beethoven received a visit -from a man of much greater moment than the English traveller. The new -visitor was Carl Maria von Weber. That the composer of "Der Freischuetz" -was unable in his salad days to appreciate the individuality of -Beethoven's genius has already been set forth; and the author of the -letter in the "Harmonicon" seems to have learned that Beethoven was -disposed to speak lightly of Weber only a month before he received -him with most amiable distinction at Baden. Schindler's explanation, -that a memory of Weber's criticism of the Fourth Symphony may at the -moment have risen, ghost-like, in Beethoven's mind and prompted the -disparaging allusion quoted by Schulz, is far-fetched. It is not -necessary to account for such moody remarks in Beethoven's case. He was -often unjust in his comments on even his most devoted friends, and we -may believe that to Schulz he did speak of the composer as "one Weber," -and at the same time accept the account which Max Maria von Weber gives -of the reception of his father by Beethoven. From the affectionate -biography written by the son, we learn that after the sensational -success achieved by "Der Freischuetz" Beethoven was led to study its -score and that he was so astonished at the originality of the music -that he struck the book with his hand and exclaimed: "I never would -have thought it of the gentle little man (_sonst weiche Maennel_). Now -Weber must write operas; nothing but operas--one after the other and -without polishing them too much. _Casper_, the monster, stands out here -like a house. Wherever the devil puts in his claws they are felt." He -learned to know "Euryanthe" later and was less impressed by it than -by its predecessor. After glancing through it hurriedly he remarked: -"The man has taken too much pains."[97] Whatever may have been their -earlier feelings and convictions, however, the representations of -"Fidelio" at Prague and Dresden under the direction of Weber warmed -their hearts towards each other. Weber's filial biographer says that -when the youthful sin of his father was called to the notice of -Beethoven, the latter showed some resentment, but there is no shadow -of this in the pictures which we have from the pens of Weber himself, -Max Maria von Weber and Julius Benedict, of the meeting between the two -men. Weber had come to Vienna, bringing with him his pupil Benedict, -to conduct the first performance of "Euryanthe." On his visit in the -previous year, when "Der Freischuetz" was produced, he had neglected -to call on Beethoven, but now some kindly words about "Euryanthe" -spoken by Beethoven to Steiner being repeated to him, he made good his -dereliction and, announced by Haslinger, drove out to Baden to pay his -respects. In his diary Weber noted the visit thus: "The 5th, Sunday -(October, 1823), at 8 o'clock, drove with Burger (Piringer), Haslinger -and Benedict to Baden; abominable weather; Saw spring and baths; to -Duport and _Beethoven_; received by him with great cordiality. Dined -with him, his nephew and Eckschlager at the Sauerhof. Very cheerful. -Back again at 5 o'clock." On the next day (though the letter is dated -"October 5") Weber wrote an account to his wife as follows: - - I was right tired but had to get up yesterday at 6 o'clock - because the excursion to Baden had been appointed for half-past 7 - o'clock. This took place with Hasslinger, Piringer and Benedict; - but unfortunately the weather was atrocious. The main purpose - was to see Beethoven. He received me with an affection which was - touching; he embraced me most heartily at least six or seven times - and finally exclaimed enthusiastically: "Indeed, you're a devil - of a fellow!--a good fellow!" We spent the afternoon very merrily - and contentedly. This rough, repellant man actually paid court to - me, served me at table as if I had been his lady. In short, this - day will always remain remarkable in my memory as well as of those - present. It was uplifting for me to be overwhelmed with such loving - attention by this great genius. How saddening is his deafness! - Everything must be written down for him. We inspected the baths, - drank the waters, and at 5 o'clock drove back to Vienna. - -Max Maria von Weber in his account of the incident says that Beethoven, -in the conversation which followed his greeting of the "devil of -a fellow," railed at the management of the theatre, the concert -impresarios, the public, the Italians, the taste of the people, -and particularly at the ingratitude of his nephew. Weber, who was -deeply moved, advised him to tear himself away from his discouraging -environment and make an artistic tour through Germany, which would show -him what the world thought of him. "Too late!" exclaimed Beethoven, -shaking his head and going through the motions of playing the -pianoforte. "Then go to England, where you are admired," wrote Weber. -"Too late!" cried Beethoven, drew Weber's arm into his and dragged him -along to the Sauerhof, where they dined. At parting, Beethoven embraced -and kissed him several times and cried: "Good luck to the new opera; if -I can I'll come to the first performance." - -[Sidenote: SIR JULIUS BENEDICT'S RECORD] - -A generation later Sir Julius Benedict, who had also put his memory -of those Vienna days at the service of Weber's son, wrote down his -recollections for his work in these words: - - I endeavor, as I promised you, to recall the impressions I received - of Beethoven when I first met him in Vienna in October, 1823. He - then lived at Baden; but regularly, once a week, he came to the - city and he never failed to call on his old friends Steiner and - Haslinger, whose music-store was then in the Paternostergaesschen, a - little street, no longer in existence, between the Graben and the - Kohlmarkt. - - If I am not mistaken, on the morning that I saw Beethoven for - the first time, Blahetka, the father of the pianist, directed - my attention to a stout, short man with a very red face, small, - piercing eyes, and bushy eyebrows, dressed in a very long overcoat - which reached nearly to his ankles, who entered the shop about 12 - o'clock. Blahetka asked me: "Who do you think that is?" and I at - once exclaimed: "It must be Beethoven!" because, notwithstanding - the high color of his cheeks and his general untidiness, there was - in those small piercing eyes an expression which no painter could - render. It was a feeling of sublimity and melancholy combined. I - watched, as you can well imagine, every word that he spoke when he - took out his little book and began a conversation which to me, of - course, was almost incomprehensible, inasmuch as he only answered - questions pencilled to him by Messrs. Steiner and Haslinger. I was - not introduced to him on that occasion; but the second time, about - a week after, Mr. Steiner presented me to the great man as a pupil - of Weber. The other persons present were the old Abbe Stadler and - Seyfried. Beethoven said to Steiner: "I rejoice to hear that you - publish once more a German work. I have heard much in praise of - Weber's opera and hope it will bring both you and him a great deal - of glory." Upon this Steiner seized the opportunity to say: "Here - is a pupil of Weber's"; when Beethoven most kindly offered me his - hand, saying: "Pray tell M. de Weber how happy I shall be to see - him at Baden, as I shall not come to Vienna before next month." I - was so confused at having the great man speak to me that I hadn't - the courage to ask any questions or continue the conversation with - him. - - A few days afterwards I had the pleasure of accompanying Weber - and Haslinger with another friend to Baden, when they allowed me - the great privilege of going with them to Beethoven's residence. - Nothing could be more cordial than his reception of my master. He - wanted to take us to the Helenenthal and to all the neighborhood; - but the weather was unfavorable, and we were obliged to renounce - this excursion. They all dined together at one table at an inn, and - I, seated at another close to them, had the pleasure of listening - to their conversation. - - In the month of November, when Beethoven came to town and paid - his daily visit to the Paternostergaesschen, I seldom missed the - opportunity of being one of the circle of young admirers, eager - to show their reverence to the greatest musical genius as well as - hoping to be honored by his notice. Among those whom I met upon - this errand were Carl Maria von Bocklet, his pupil, Worzischek, - Leon de St. Louvain, Mayseder, Holz, Boehm, Linke, Schuppanzigh, - Franz Schubert and Kanne. - - On the morning after the first performance of "Euryanthe," when - Steiner and Haslinger's shop was filled with the musical and - literary authorities, Beethoven made his appearance and asked - Haslinger: "Well, how did the opera go last night?" The reply - was: "A great triumph." "_Das freut mich, das freut mich_," he - exclaimed, and perceiving me he said: "I should so much have liked - to go to the theatre, but," pointing to his ears, "I go no more - to those places." Then he asked Gottdank, the regisseur; "How did - little Sontag get on? I take a great interest in her; and how - is the book--good or bad?" Gottdank answered the first question - affirmatively, but as to the other he shrugged his shoulders and - made a negative sign, to which Beethoven replied: "Always the same - story; the Germans cannot write a good libretto." Upon which I took - his little conversation book and wrote in it: "And 'Fidelio'?" to - which he answered: "That is a French and Italian book." I asked him - afterwards: "Which do you consider the best librettos?"; he replied - "'Wassertraeger' and 'Vestalin.'" - - Further than this I cannot recall any distinct conversation, - although I often met him, and I had never the good fortune of - hearing him perform or seeing him conduct. But the wonderful - impression his first appearance made on me was heightened every - time I met him. When I saw him at Baden, his white hair flowing - over his mighty shoulders, with that wonderful look--sometimes - contracting his brows when anything afflicted him, sometimes - bursting out into a forced laughter, indescribably painful to - his listeners--I was touched as if _King Lear_ or one of the old - Gaelic bards stood before me; and when I thought how the creator - of the sublimest musical works was debarred by a cruel fate for a - great many years from the delight of hearing them performed and - appreciated I could but share the deep grief of all musical minds. - - I may add that I heard the first public performance of one of his - so-called "posthumous" quartets in his own presence. Schuppanzigh - and his companions, who had been his interpreters before, were - scarcely equal to this occasion; as they did not seem to understand - the music themselves, they failed entirely to impart its meaning - to the audience. The general impression was most unsatisfactory. - Not until Ernst had completely imbued himself in the spirit of - these compositions could the world discover their long-hidden - beauties.[98] - -[Sidenote: SONGS AND MILITARY MARCHES] - -Madame Marie Pachler-Koschak, with whom Beethoven had spent many -happy moments in 1817, was among those who took the waters at Baden -in the summer of 1823, but we are told she searched for him in vain, -a fact which shows in what seclusion he must have dwelt some of the -time at least. She was more fortunate when she returned in September -to complete her cure; and when she left Baden she carried with her an -autographic souvenir--a setting of "The beautiful to the good," the -concluding words of Matthison's "Opferlied" which he had in hand in -this year. Towards the close of October Beethoven returned to Vienna. -We know the date approximately from Benedict's account, the first -performance of "Euryanthe" having taken place on October 25. He removed -to new lodgings in the Ungarstrasse, where his nephew remained with him -as long as he continued a student at the university. Here he worked at -the Ninth Symphony, more particularly on the last movement. - -The exact chronological order in which works were taken up in 1823 -cannot be recorded here. Matthison's "Opferlied" was taken up several -times--in 1794, then in 1801 and 1802; finally in 1822 and 1823. In its -last stages he extends its dimensions, adds the refrain for chorus and -an orchestral accompaniment.[99] Beethoven had offered it to Peters -in February, 1823, though at that time he described its accompaniment -as being for two clarinets, horn, viola and violoncello, so that the -violins and bassoon were added later. Why Peters did not publish the -song is not known; the manuscript does not seem to have been returned -to Beethoven. Nottebohm concludes that two or more versions were made -in 1822 and 1823 (possibly as late as 1824), and that the final form -was that known as Op. 121b. On April 9, 1825 ("Notizen," p. 161), a -letter was written to Ries which said: "You will soon receive a second -copy of the 'Opferlied,' which mark as corrected by me so that the one -which you already have may not be used. Here you have an illustration -of the miserable copyist whom I have, since Schlemmer died. You can -depend on scarcely a note." A sketchbook analyzed by Nottebohm,[100] -which contains sketches made at different times bound up with sketches -for the last quartets made in 1824, shows sketches for a pianoforte -sonata for four hands, the Ninth Symphony, the Mass in C-sharp minor, -a fugue on B-a-c-h, and the "Bundeslied," besides the latest form of -the "Opferlied" but not wholly like the printed edition. The impetus -to the C-sharp minor mass came in 1823 and the other sketches in all -likelihood were made in the same year. It is therefore to be concluded -that he worked on the new "Opferlied" in 1823 and possibly carried it -over to the early part of 1824. Beethoven owed money to his brother and -offered the song as Johann's property, in a letter of November 1824, -to Schott and Sons, who published it in 1825; but he made alterations -by letter as late as May 7, 1825. Schindler's statement that the two -songs "Opferlied" and "Bundeslied" were composed to be sung by the -tenor Ehlers at a benefit concert in Pressburg, is wrong. Schindler's -inexactitude as to dates is shown by his statements that the concert -took place in 1822 and the song published in 1826. The first song was -written in the soprano clef; the second has tenor clef but two solo -voices; neither was made for Ehlers. As to the "Bundeslied" (words by -Goethe) so far as the history of the song is concerned, the documentary -evidence is found in the sketchbook just mentioned; whether or not it -had its origin at an earlier date has not been ascertained,[101] but -received alterations later. It, too, was published by Schott in 1825. - -[Sidenote: MINOR COMPOSITIONS OF THE YEAR 1823] - -Besides these songs, and the Bagatelles mentioned in the letter of -February, 1823, as sent to Peters, there are several other minor -compositions which may well be discussed here. The Tattoo with -percussive instruments (Turkish music), the two other Tattoos and a -March, were all old compositions. Up to 1874, when the letter was -made public, only one of the Tattoos had been printed. It was that -in F major, which, according to the autograph preserved by Artaria, -was composed for the Bohemian _Landwehr_ in 1809 and then designated -as March No. 1. A copy more fully orchestrated than it is in the -printed form was dedicated to Prince Anton in that year.[102] A second -autograph of later date (also in Artaria's collection) is entitled -"Zapfenstreich No. 1." Here the march had a trio which has not become -known. It was then, together with the one that follows, rewritten for -the tournament at Laxenburg held in honor of the birthday of Empress -Maria Ludovica on August 25, 1810, and this version has been printed -in the Complete Edition of Beethoven's works.[103] In the earliest -print by Schlesinger it is number 37 in a collection of "Quick-steps -for the Prussian Army. For the York Corps"; but Nottebohm says that -the version does not agree with any of the manuscripts mentioned. -Simultaneously with this march another was published which was composed -in 1810 for Archduke Anton. An autograph at Haslinger's bears the -inscription "Zapfenstreich No. 3," and below it "One step to each -measure." A copy in the archives of the Gesellschaft der Musikfreunde -is inscribed "March for H. I. Highness, the Archduke Anton, by Ludwig -van Beethoven, 1810 on the 3rd of the Summermonth" (i. e., June). A -third form was prepared for the tournament of 1810, and this has been -published. Artaria had a "Trio No. 3" in F minor, 6-4 time. This is -followed in the "Gesammt-Ausgabe" by a third in C major with a trio -in F major, which was published from a copy made by Nottebohm. This, -which has been published by Haslinger, Steger, and Liszt and Franke, -was entitled "Zapfenstreich No. 2." In Nottebohm's opinion it belongs -to the two others and like them had its origin between 1809 and June -1810. These were the three Tattoos which Beethoven sent to Peters, -who, however, did not publish them. The fourth March was the Military -March in D major composed in 1816.[104] It was first published in -1827, after Beethoven's death, in an arrangement for pianoforte, by -Cappi and Czerny; a four-hand arrangement followed soon after and it -was given to the world in its original shape in the Complete Edition. -It was composed at the personal request of F. X. Embel, "Magisterial -Councillor and Lieut.-Colonel of the Civil Artillery," who probably -preferred his request in 1815, a sketch for it appearing in a book -used in 1815-1816.--The data concerning these old works are given here -because Beethoven brought them out of his portfolio and offered them to -the publishers in this year. - -The Bagatelles, Op. 126, belong to this period, though their completion -fell later. Taking up earlier sketches probably, Beethoven worked on -them after the Ninth Symphony was practically complete in his mind and -the sketchbooks--at the close of 1823 at the earliest. It is likely -that they were not finished until the middle of 1824. Nottebohm had -subjected them to a minute study which leads him to the conclusion that -the pieces were conceived as a homogeneous series, the numbers being -linked together by key-relationship. On the margin of a sketch for the -first one Beethoven wrote "Cycle of Trifles" ("Kleinigkeiten"), which -fact, their separation from each other (all but the first two) by the -uniform distance of a major third, taken in connection with their unity -of style, establishes a cyclical bond. When he offered them to Schott -in 1824 he remarked that they were probably the best things of the -kind which he had ever written. They were among the compositions which -had been pledged to his brother, in whose interest he offered them to -Schott. They were published by that firm, probably in the early part of -1825. - -In 1828 Diabelli and Co. published a "Rondo a Capriccio" in G which -had been purchased at the auction sale of Beethoven's effects after -his death. It bore on its title-page the inscription: "Die Wuth ueber -den Verlornen Groschen, ausgetobt in einer Caprice" ("Rage at the -loss of a groat stormed out in a Caprice"). Nothing is known of its -origin. In the catalogue of the Gesellschaft der Musikfreunde, Czerny -noted it as belonging to Beethoven's youthful period; which may be -true of its theme, but can not be of its treatment. Among the sketches -and drafts for the Bagatelles is a sketch for an arch and mischievous -piece evidently intended for strings,[105] and a two-part canon on the -words "Te solo adoro" from Metastasio's "Betulia liberata," which, as -transcribed by Nottebohm, has been printed in the Complete Edition. - -FOOTNOTES: - -[68] In a Conversation Book of 1820 we read this remark by Beethoven: -"What I think of confession may be deduced from the fact that I myself -led Karl to the Abbot of St. Michael for confession. But the abbot -declared that as long as he had to visit his mother, confession would -be of no avail." - -[69] In Vol. IV of the German edition of this biography, Dr. Deiters -presents a long and extremely interesting descriptive and critical -analysis of the mass from the point of view held by a devout -Roman Catholic churchman; wherefore, in spite of his enthusiastic -appreciation of the music, he is obliged to point out its departure -from some of the dogmas of the church, as well as the rubrics which the -composers had long disregarded. All this is, however, far outside the -scope of this biography as originally conceived by Thayer and to which -the editor has sought to bring it back in this English edition. - -[70] These pieces, we learn later, were to be an offertory, a graduale -and a _Tantum ergo_. - -[71] Beethoven's mind reverts to the choral movement of the Ninth -Symphony which is occupying him. - -[72] Were it not for the very general confusion which still exists -touching musical terms, it might be set down as a bit singular that -neither Beethoven nor Schindler seems to have known that the French -equivalent of "oratorio" is "oratorio," and nothing else. The letter, -however, reads: _elle se prete de meme a etre executee en Oratoire_. In -France an _oratoire_ is still an oratory, a room for prayer. - -[73] The blanks were filled according to the formula. - -[74] "Papageno" was the name applied to Schindler in his notes when -Beethoven wished to enjoin silence on his factotum; the allusion, of -course, being to the lip-locked bird-catcher in Mozart's "Magic Flute." - -[75] If this note refers to the Mass, Schindler's date must be a year -too late. - -[76] In view of what will have to be said later about the controversy -which raged for years after Beethoven's death about the financial -dealings between Prince Galitzin and Beethoven, it was thought best to -establish at this time the fact that Galitzin subscribed for the Mass -and paid the fee in the manner which has been set forth. - -[77] The letter is incorrectly dated July 1, by Kalischer. Thayer's -transcript and also one made by Dr. Kopfermann of the Royal Library at -Berlin for Dr. Deiters give June as the month. - -[78] Beethoven had a number of nicknames for Schindler besides -_Papageno_ with its various qualifications. One of these was -_Lumpenkerl_; another _Hauptlumpenkerl_--Ragamuffin and Chief -Ragamuffin. In this instance Schindler is a "Samothracian ragamuffin" -and Schindler in a gloss tells us that the allusion was to the ancient -ceremonies of Samothrace, Schindler being thus designated as one -initiated into the mysteries of Beethoven's affairs and purposes. The -injunction of silence was understood, of course. Count Brunswick, Count -Lichnowsky and Zmeskall were also initiates. Wocher, to whom Beethoven -sends his compliments, was Prince Esterhazy's courier. Beethoven's -second thoughts seem frequently to have been bestowed on the trombones. -We have already seen how often this was the case in the alterations in -the Mass in D. An interesting illustration was found by the present -editor among Thayer's papers. The biographer owned a sheet of four -pages containing, in Beethoven's handwriting, the trombone parts of -the Trio in the Scherzo of the Ninth Symphony with instructions to the -copyist where they were to be introduced. As the trombones do not take -part in the first and third movements nor in the Scherzo outside of the -Trio, but are highly important in the choral Finale, it would seem as -if Beethoven had thought of the beautiful effect which they produce in -the Trio after he had decided that they were necessary in the Finale. - -[79] In Hetzendorf, while the negotiations with the courts are pending, -Count Moritz Lichnowsky writes in a Conversation Book: "Can you not -sell the Mass to publishers next year, so that it may become publicly -useful?" - -[80] "The Philharmonic Society of London," by George Hogarth, London, -1862, page 31. - -[81] _Sic._ Beethoven of course means the Embassy. The Overture was no -doubt that to "The Consecration of the House," Op. 124. - -[82] Bauer was in Beethoven's company a short time before he went to -England, and the incident of the sending of the score of "Wellington's -Victory, or the Battle of Vittoria" came up for conversation between -them. We read in a Conversation Book, in Bauer's hand: "I am of the -opinion that the King had it performed, but perhaps nobody reminded him -that on that account he ought to answer. I will carry a letter to the -King and direct it in a channel which will insure its delivery, since I -cannot hand it over in person." The story of King George's action, or -want of action, has been told in earlier pages of this work. From the -opening phrase of the address to the King it is fair to surmise that it -was to follow an invitation to subscribe for the Mass in D, and from -the letter to Ries that Beethoven subsequently decided to strike the -King of England from his list. - -[83] In his letter to Zelter, Beethoven says that one of the numbers of -the Mass was without accompaniment. There being no _a cappella_ setting -of any section of the missal text in the Mass in D, it is likely that -Beethoven here, too, had the three additional pieces in mind. For this -speculation, however, as well as the hypothesis that the settings -originally contemplated for the "second" mass in C-sharp minor were -transferred to the scheme of the _Missa Solemnis_, the present editor -is alone responsible. In a Conversation Book of 1823 an unidentified -friend answers several questions about the hymn "Tantum ergo" and its -introduction in the service. - -[84] Schindler bases his statements on alleged testimony of the -Archduke's secretary Baumeister, but there is no word of reproval in -any of the letters of the two men which have been found. - -[85] Sporchil's drama bore the title "The Apotheosis in the Temple of -Jupiter Ammon." What it had to do with the new operatic project is not -plain to this editor, for it was but a new text to be used to the music -of "The Ruins of Athens." Beethoven once described "The Ruins" as "a -little opera" and his abiding and continued interest in it is disclosed -by the fact that after he got into touch with Grillparzer he discussed -the possibility of its revival with that poet. - -[86] Grillparzer's "Werke," Vol. XVI, p. 228 _et seq._ - -[87] Thayer saw Grillparzer on July 4, 1860, and got from him a -confirmation of both incidents here narrated. - -[88] The concluding paragraph of the letter betrays his growing -antipathy towards Schindler: "Afternoons you will find me in the -coffee-house opposite the 'Goldene Birne.' If you want to come, please -come alone. This importunate appendix of a Schindler, as you must -have noticed in Hetzendorf, has long been extremely objectionable to -me--_otium est citium_." - -[89] Thayer copies the entry found in the Conversation Book, but doubts -if the handwriting is that of Liszt _fils_. It is as follows: "I have -often expressed the wish to Herr von Schindler to make your high -acquaintance and am rejoiced to be able now to do so. As I shall give a -concert on Sunday the 13th I most humbly beg you to give me your high -presence." The courtly language suggests the thought that the father -may have written the words for the boy. - -[90] "Beethoven, Liszt und Wagner," p. 199. - -[91] In view of the fact that Beethoven would not have been able to -hear a note of the music had he been present and that, unless deeply -moved, he would not have made a public exhibition of his feelings, -and that even Schindler does not seem to have heard of the story of -the kiss, it is very likely, in the opinion of the present editor, -that the whole story is a canard invented for advertising purposes. -Thayer's note on the copy which he made of the conversation at the -time of the presentation of the lad is: "B. does not appear to have -attended the concert, as some one reports to him that he 'improvised on -a Hungarian-German theme.'" But there are several versions of the story -(see Frimmel, "Bausteine, etc.," p 91) and Beethoven may at another -time have kissed the boy. - -[92] Nohl is mistaken in saying that the canon was written in -Schloesser's album. It is printed in the B. and H. "Ges. Ausg.," Series -XXIII, No. 256. - -[93] A _Schusterfleck_, that is a cobble, or cobbler's patch, like -_Vetter Michel_ and _Rosalia_ in the musical terminology of Germany, is -a tune largely made up of repetitions on different degrees of the scale -of a single figure or motive. - -[94] See the conversation, Vol. I, p. 321. - -[95] Here are a few extracts from a letter written to Beethoven on July -3, 1823: "As I have been visiting him (Johann) three to four times a -day ever since he took to his bed, and have entertained him by the -hour, I have had an opportunity carefully to observe these two persons; -hence I can assure you on my honor that, despite your venerable name, -they deserve to be shut up, the old one in prison, the young one in -the house of correction.... This illness came opportunely for both of -them, to enable them to go their ways without trammel. These beasts -would have let him rot if others had not taken pity on him. He might -have died a hundred times without the one in the Prater or at Nussdorf -the other at the baker's deigning to give him a look.... He often wept -over the conduct of his family and once he gave way completely to his -grief and begged me to let you know how he is being treated so that you -might come and give the two the beating they deserve.... It is most -unnatural and more than barbarous if that woman, while her husband is -lying ill, introduces her lover into his room, prinks herself like a -sleigh-horse in his presence and then goes driving with him, leaving -the sick husband languishing at home. She did this very often. Your -brother himself called my attention to it, and is a fool for tolerating -it so long." - -[96] Meaning Johann's wife and step-daughter. Very incomprehensibly -Kalischer thinks the _Lump_ was Schindler! - -[97] Schindler quotes Beethoven as remarking of "Euryanthe" that it was -"an accumulation of diminished seventh-chords--all little backdoors!" - -[98] The Quartet which Benedict heard was that in E-flat major, Op. -127, which had its performance on March 6, 1825, the year in which -Benedict left Vienna with Barbaja. His letter to Thayer, therefore, -carries us far beyond the period now under discussion. The conversation -about the libretto of "Euryanthe" is said by Max Maria von Weber to -have taken place at the dinner in Baden; but Benedict's is the likelier -story. - -[99] It was performed for the first time at a concert of the -Gesellschaft der Musikfreunde on April 4, 1824, but it had been -completed a long time before. - -[100] "Zweit. Beeth.," p. 540 _et seq._ - -[101] Czerny wrote in the catalogue of the Gesellschaft der -Musikfreunde concerning this song, the "Opferlied" and "Der Kuss," -"sketched at a very early period." The note cannot be considered -seriously, as there is nothing to show that he had any information on -the subject. - -[102] See list of compositions in the chapter of this work devoted to -1809. - -[103] B. and H., Series XXV, Nos. 120 and 287. - -[104] See _ante_. - -[105] Nottebohm's "Zweit. Beeth.," p. 208. - - - - -Chapter V - - The Symphony in D Minor--Its Technical History--Schiller's "Ode to - Joy"--An Address to Beethoven--The Concerts of 1824--Laborious and - Protracted Preparations--Production of the Symphony and Mass in - D--Financial Failure--Negotiations with Publishers Resumed. - - -The Symphony in D minor, familiarly known the world over as the -"Ninth," and also as the "Choral" Symphony in England and America, -was completed in February, 1824. The conclusion of the work upon it, -Schindler says, had a cheering effect upon Beethoven's spirits. He -no longer grudged himself occasional recreation and was again seen -strolling through the streets of Vienna, gazing into the shop-windows -through eyeglasses which dangled at the end of a black ribbon, and, -after a long interregnum, greeting friends and acquaintances as they -passed. The history of the work is far more interesting than that of -any of his compositions, with the possible exception of the Mass in -D. Nottebohm has painstakingly extracted from the sketchbooks all the -evidence which they afford, touching the origin and development of the -work, and presented it in a chapter of his "Zweite Beethoveniana";[106] -and his conclusions have been adopted in the presentation of facts -which follow. - -[Sidenote: GROWTH OF THE CHORAL SYMPHONY] - -Thoughts of a symphony to succeed the Symphonies in A and F major (Nos. -7 and 8), were in the composer's mind while he was making sketches for -those two works in 1812; but the memoranda there found tell us only -in what key the new symphony was to be; they are mere verbal notes: -"2nd Sinfonie, D minor" and "Sinfonie in D minor--3rd Sinfonie." A -fugue-theme, identical, so far as the first three measures go, with -that of the Scherzo of the Ninth Symphony, presented itself to him -and was imprisoned in his note-book in 1815, being recorded among the -sketches for the Sonata for Pianoforte and Violoncello in D, Op. 102, -No. 2.[107] There is another sketch with a note[108] to show that -Beethoven was thinking of a new symphony at the time; but the sketch -cannot be associated with the Ninth Symphony, the composition of which -really began when the beginning of the first movement was sketched. Of -this fragments are found on loose leaves belonging to the year 1817. -By the end of that year and the beginning of 1818 (presumably from -September to May) extended sketches of the movement were made. The -principal subject is definitively fixed, but the subsidiary material -is still missing. The fugue-theme of 1817 is assigned to the third -movement. There is no suggestion of the use of Schiller's "Ode to Joy," -but a plain intimation of an instrumental finale. In 1818 a plan is -outlined for the introduction of voices into the slow movement of a -symphony which is to follow the "Sinfonie in D." It is as follows: - - _Adagio Cantique._ - - Pious song in a symphony in the ancient modes--Lord God we praise - Thee--alleluia--either alone or as introduction to a fugue. The - whole 2nd sinfonie might be characterized in this manner in which - case the vocal parts would enter in the last movement or already - in the Adagio. The violins, etc., of the orchestra to be increased - tenfold in the last movement. Or the Adagio might be repeated in - some manner in the last movement, in which case the vocal parts - would enter gradually--in the text of the Adagio Greek myth, - _Cantique Ecclesiastique_--in the Allegro feast of Bachus [_sic_]. - -It will be recalled that in 1822 Beethoven told Rochlitz that he had -two symphonies in his mind which were to differ from each other. One -difference at least is indicated here by the purpose to use voices in -a movement to be written in the old modes. His well-known love for -classic subjects, no doubt, prompted the thought of the "pious orgies" -of a Pagan festival. Schiller's hymn is still absent from his mind. -These sketches were all sidewise excursions undertaken while Beethoven -was chiefly occupied with the composition of the Pianoforte Sonata, Op. -106. What progress, if any, was made with the Symphony during the next -four years can not well be determined. The work was interrupted by -the composition of other works, notably the Mass in D, the last three -Pianoforte Sonatas and the overture and chorus for "The Consecration of -the House." It was not until the Mass and the Josephstadt Theatre music -were finished in the sketches that he gave his attention largely to the -Symphony. In the sketches of 1822, there are evidences of considerable -progress on the first movement, little if any on the Scherzo (designed -to take third place in the scheme of movements), the fugue-themes of -1815 and 1817 appearing in them almost unchanged. There is no hint as -yet of the slow movement, but among the sketches appears the beginning -of the melody of the "Ode to Joy" with the underlying words, assigned -as a Finale. The thought of using the ode for a concluding movement had -presented itself, but only tentatively, not as a fixed determination. -Following this sketch, but of another date (to judge by the handwriting -and the contents), comes a memorandum indicating that the symphony in -mind was to consist of four movements--the first (no doubt, though it -is not mentioned) being the present first, the second in 2-4 time, the -third (presumably) in 6-8, while the fourth was to be built on the -fugal theme of 1817 and to be "well fugued." The next recognizable -sketch is for a Presto in 2-4 designated as a second movement and this -is followed by the beginning of the first movement preceded by four -measures in triple time marked "_Alla Autrichien_." A third sketch is -marked as belonging to a "_Sinfonie allemand_." It is a new melody to -the words beginning Schiller's ode to be used in a chorus; and again -the accompanying memorandum reads: "_Sinfonie allemand_," but now with -this addition: "either with variations after which the chorus _Freude -schoener Goetterfunken Tochter aus Elysium_ enters or without variations. -End of the Sinfonie with Turkish music and vocal chorus." It is -possible that the melody had an earlier origin than that which appears -first in the sketches and was eventually used. The last relevant sketch -in the book of 1822 is a sort of thematic index to the symphony as it -now lay planned in Beethoven's purpose: - -[Illustration] - -The second movement was to be a fugued Scherzo with the theme of 1815, -the fourth the Presto in 2-4 time which first appeared in this year, -the fifth the "Ode to Joy." In the midst of these sketches appears -the significant remark: "Or perhaps instead of a new symphony, a new -overture on _Bach_, well fugued with 3----."[109] - -[Sidenote: TWO SYMPHONIES IN CONTEMPLATION] - -The conclusions to be drawn from the sketches thus far are that, as -was the case in 1812 when the Seventh and Eighth Symphonies were -brought forth as a pair, Beethoven was again contemplating the almost -simultaneous production of two symphonies. He did not adhere to the -project long, so far as we can know from the written records, and -the remark about the substitution of an overture on B-a-c-h probably -marks the time when he began seriously to consider the advisability -of abandoning what would then have been the Tenth Symphony. With the -exception of a portion of the first movement, the Ninth Symphony was -still in a chaotic state. Taken in connection with negotiations which -had been concluded with the Philharmonic Society of London, it may be -assumed, however, that the present Symphony in D minor was associated -in Beethoven's mind with the English commission, and that the second, -which he had thoughts of abandoning in favor of the overture, was to -have been a "Sinfonie allemand." For a time, at least, Beethoven is -not likely to have contemplated a choral movement with German words in -connection with the symphony for the London Philharmonic Society: this -was to have an instrumental finale. The linguistic objection would be -invalid in the case of the German symphony, however, and to this was -now assigned the contemplated setting of Schiller's poem. - -Work now proceeded with little interruption (except that occasioned -by the composition of the Variations, Op. 120), and most of the first -half of 1823 was devoted to the first movement, which was nearly -complete in sketch-form before anything of the other movements appeared -beyond the themes which have already been cited. When the foundation -of the work is firmly laid we have the familiar phenomenon of work -upon two or three movements simultaneously. In a general way it may -be asserted that the year 1823 saw the birth of the Symphony, though -work was carried over into 1824. The second movement was complete in -the sketches before the third--this was about August; the third before -the fourth--about the middle of October. The second theme of the slow -movement was perfected before the sketches for the first movement were -finished. In a Conversation Book used in the fall of the year 1823 -the nephew writes: "I am glad that you have brought in the beautiful -andante." The principal theme of the movement appears to have been -conceived between May and July, 1823, but it had to submit to much -alteration before it acquired the lovely contours which we now admire. -This was the case, too, with the simple folksong-like tune of the -Finale. - -[Sidenote: INTRODUCING THE ODE TO JOY] - -Sketches for the Finale show that Beethoven had made considerable -progress with the setting of Schiller's ode before he decided to -incorporate it with the Symphony. In June or July, 1823, he wrote down -a melody in D minor which he designated "_Finale instromentale_," and -which, transposed into another key and slightly altered, was eventually -used in the finale of the Quartet in A minor, Op. 132. That it was -intended for the Finale of the symphony is proved by the fact that it -is surrounded with sketches for the Symphony in D minor and Beethoven -recurred to it twice before the end of the year; there was no thought -of the quartet at the time. - -When he began work on the Finale, Beethoven took up the choral -part with the instrumental variations first and then attacked the -instrumental introduction with the recitatives. The present "Joy" -melody, as noted in the fall of 1822, was preceded by a different one -conceived later, if the sketches are taken as a guide. After adoption -the tune, especially its second period, underwent many transformations -before its definitive form was established. Among the musical sketches -occur several verbal memoranda containing hints which were carried out -in part, for instance: "Turkish music in _Wer das nie gekonnt stehle_"; -in sketches for the _Allegro alla marcia_: "Turkish music--first -_pianissimo_--a few sounds _pianissimo_--a few rests--then the full -strength"; a third: "On _Welt Sternenzelt forte_ trombone blasts"; a -fourth (in studies for the final chorus): "the height of the voices -to be more by instruments" (which may be interpreted to mean that -Beethoven realized that he was carrying the voices into dangerous -altitudes and intended to give them instrumental support). Other -sketches indicate that Beethoven intended for a considerable time to -write an instrumental introduction with new themes for the Finale. For -this prelude there are a number of sketches of different kinds, some -of them conceived while sketches for the first movement were still in -hand. Before July, 1823, there are no hints of a combined vocal and -instrumental bridge from the Adagio to the setting of the "Ode to Joy." -After that month there are evidences that he had conceived the idea -of introducing the "Joy" melody played upon wind-instruments with a -prelude in the recitative style, a reminiscence of the first movement -and premonitory suggestions of the fundamental melody. This was the -first step towards the eventual shape of the finale. The lacking -element was the verbal link which should connect the instrumental -movements with the choral conclusion. The sketches bear out Schindler's -remark: "When he reached the development of the fourth movement there -began a struggle such as is seldom seen. The object was to find a -proper manner of introducing Schiller's ode. One day entering the -room he exclaimed 'I have it! I have it!' With that he showed me the -sketchbook bearing the words, 'Let us sing the song of the immortal -Schiller _Freude_.'" - -By grouping a number of sketches it is now possible to make a graphic -representation of the ideas which passed through Beethoven's mind -while seeking a way to bridge the chasm between instrumental and vocal -utterance by means of the formula of recitative. The sketches are in -parts illegible, in parts so obscure that Nottebohm and Deiters differ -in their readings; regard has been had for both in the following -version: Over a portion of an instrumental recitative (_a_) occur the -words: "_Nein diese ... erinnern an unsere Verzweifl._" (No, these ... -remind (us) of our despair); other sketches follow in the order here -indicated: - -[Illustration:(a)] - -[Illustration: - - Heute ist ein feierlicher Tag - (To-day is a solemn day) - - meine Fru (Freunde?) dieser sei gefeiert - my fri (friends?) let it be celebrated - - durch mit Gesang und [Tanz? Scherz?] - with song and [Dance? Play?] -] - -[Illustration] - -[Illustration: - - O nein dieses nicht etwas - O no not this something - - ist es was ich fordere - - anderes gefaellig - - sondern nur etwas heiterer - but only a little merrier - - auch dieses nicht ist nur Possen - or ("besser") - etwas schoeneres und bessers - nor this either it is but sport - (or no better) - - auch dieses es ist zu zaertl zaertl - (nor this it is too tender tender) - - etwas aufgewecktes[?] muss man suchen - (for something animated we must seek) - - ich werde sehn dass ich selbst euch etwas - (I shall see to it that I myself intone something - - vorsinge alsdann stimmt nur nach - then do you sing after me) - - Dieses ist es Ha es ist nun gefunden Ich - This it is Ha now it is found I - - selbst werde vorsingen Freude schoener - myself will intone it - - Ha dieses ist es Es ist nun gefunden - Ha this it is it now is discovered - - Freu- - - -] - -[Illustration: meilleur] - -Later comes the memorandum which Beethoven showed Schindler ("_I asst -uns das Lied des unsterblichen Schillers singen, Freude, etc._") and -then: - -[Illustration: - - _Bass_ nicht diese Toene froehlichere - _Voce_ Freude! Freude - ("not these tones, more joyful ones") -] - -The entire Symphony was finished in sketch-form at the end of 1823 and -written out in score in February, 1824. Omitting from consideration the -theme of the second movement, noted in 1815 and again in 1817 (probably -with an entirely different purpose in mind), the time which elapsed -between the beginning of the first movement (1817-1818) and the time of -completion was about six and a half years. Within this period, however, -there were extended interruptions caused by other works. Serious and -continuous labor on the Symphony was not taken up until after the -completion of the _Missa solemnis_; it began in 1822, occupied the -greater part of 1823 and ended in the early part of 1824. Beethoven, -therefore, worked on the Symphony a little more than a year. - -[Sidenote: INSTRUMENTAL AND VOCAL PARTS UNITED] - -Those who cherish the fantastic notion that the Symphony was conceived -_ab initio_ as a celebration of joy, and therefore feel obliged to go -back to Beethoven's first design to compose music for Schiller's ode, -have a large territory for the play of their fancy. Beethoven formed -the plan of setting the ode while still living in Bonn in 1793. It -is heard of again in a sketchbook of 1798, where there is a melodic -phrase adapted to the words, "Muss ein lieber Vater wohnen." Amongst -sketches for the Seventh and Eighth Symphonies (say in 1811) there -crops up a melody for the beginning of the hymn, and possibly a little -later (1812) a more extended sketch amongst material used in the -Overture, Op. 115, into which he appears at one time to have thought -of introducing portions of it. All these sketches, of course, preceded -the melody of 1812, conceived for use in a "_Sinfonie allemand_." -When Beethoven first took up the ode for setting it was to become a -"durchkomponirtes Lied," i. e., each stanza was to have an illustrative -setting; when he planned to incorporate it in an overture he proposed -to use only selected portions of the poem, for he accompanies the -melodic sketch with the note: "Disjointed fragments like Princes -are beggars, etc., not the whole"; and a little later: "disjointed -fragments from Schiller's _Freude_ connected into a whole."[110] - -The questions which have been raised by the choral finale are many -and have occupied the minds of musicians, professional and amateur, -ever since the great symphony was first given to the world. In 1852 -Carl Czerny told Otto Jahn that Beethoven had thought, after the -performance, of composing a new finale without vocal parts for the -work. Schindler[111] saw the note in Jahn's papers and wrote in the -margin: "That is not true"; but it must be remembered that there was a -cessation of the great intimacy between Beethoven and Schindler which -began not long after the Symphony had been produced, and lasted almost -till Beethoven was on his deathbed. Schindler can not have been present -at all of the meetings between Beethoven and his friends at which the -Symphony was discussed. Nevertheless he is upheld, in a measure, by the -fact (to which Nottebohm directed attention) that Beethoven, if he made -the remark, either did not mean it to be taken seriously or afterwards -changed his mind; for after keeping the manuscript in his hands six -months he sent it to the publisher as we have it. Seyfried, writing -in "Caecilia" (Vol. IX, p. 236), faults Beethoven for not having taken -the advice of well-meaning friends and written a new finale as he did -for the Quartet in B-flat, Op. 130. Even if one of the well-meaning -friends was Seyfried himself, the statement has value as evidence that -Beethoven was not as convinced as Czerny's story would have it appear -that the choral finale was a mistake. Sonnleithner, in a letter to the -editor of the "Allgemeine Musikalische Zeitung" in 1864, confirmed -Jahn's statement by saying that Czerny had repeatedly related as an -unimpeachable fact that some time after the first performance of the -Symphony Beethoven, in a circle of his most intimate friends, had -expressed himself positively to the effect that he perceived that he -had made a mistake (_Misgriff_) in the last movement and intended to -reject it and write an instrumental piece in its stead, for which he -already had an idea in his head. What that idea was the reader knows. -That Beethoven may have had scruples touching the appropriateness -of the choral finale, is comprehensible enough in view of the fact -that the original plan of the Symphony contemplated an instrumental -close and that Beethoven labored so hard to establish arbitrarily an -organic union between the ode and the first three movements; but it is -not likely that he gave long thought to the project of writing a new -finale. He had witnessed the extraordinary demonstration of delight -with which the whole work had been received and he may have found it -as easy as some of his commentators to believe that his device for -presenting the choral finale as the logical and poetically just outcome -of the preceding movements had been successful despite its obvious -artificiality. - -[Sidenote: PREPARING FOR THE FIRST PERFORMANCE] - -For the chief facts in the story of the first performance of the D -minor Symphony in Vienna we are largely dependent on Schindler, who -was not only a witness of it but also an active agent. Beethoven was -thoroughly out of sympathy with the musical taste of Vienna, which had -been diverted from German ideals by the superficial charm of Rossini's -melodies. He wanted much to produce his symphony, but despaired of -receiving adequate support or recognition from his home public. His -friends offered him encouragement, but his fear and suspicion that -his music was no longer understood by the Viennese and he no longer -admired, had grown into a deep-rooted conviction. The project of a -concert at which the Mass in D should be performed had been mooted -months before. One day Sontag visited him and asked, "When are you -going to give your concert?" We have a record of her speeches only; -what Beethoven said must be supplied from the reader's fancy. It is -plain enough that instead of answering the question he expressed a -doubt as to a successful financial outcome. "You give the concert," -said the singer, "and I will guarantee that the house will be full." -Still a moody suspicion, which the lady thinks it her right to rebuke: -"You have too little confidence in yourself. Has not the homage of the -whole world given you a little more pride? Who speaks of opposition? -Will you not learn to believe that everybody is longing to worship -you again in new works? O obstinacy!" This was in January. Beethoven -had inquired of Count Bruehl in Berlin whether or not a performance of -the new Mass and Symphony might be given in that city, and Bruehl had -favored the plan. When news of this fact became known in Vienna, a -number of Beethoven's friends addressed him in the following memorial: - -[Sidenote: AN ADDRESS TO THE COMPOSER] - - To Herrn Ludwig van Beethoven. - - Out of the wide circle of reverent admirers surrounding your genius - in this your second native city, there approach you to-day a small - number of the disciples and lovers of art to give expression to - long-felt wishes, timidly to prefer a long-suppressed request. - - But as the number of spokesmen bears but a small proportion to the - many who joyfully acknowledge your worth and what you have grown - to be to the present as well as the future, so the wishes and - requests are by no means restricted to the number of those who are - like-minded with themselves and who, in the name of all to whom - art and the realization of their ideals are something more than - means and objects of pastime, assert that their wish is also the - wish of an unnumbered multitude, their request is echoed loudly or - in silence by every one whose bosom is animated by a sense of the - divine in music. - - It is the wish of those of our countrymen who reverence art to - which we desire more especially to give expression; for though - Beethoven's name and creations belong to all contemporaneous - humanity and every country which opens a susceptible bosom to art, - it is Austria which is best entitled to claim him as her own. Among - her inhabitants appreciation for the great and immortal works which - Mozart and Haydn created for all time within the lap of their home - still lives, and they are conscious with joyous pride that the - sacred triad in which these names and yours glow as the symbol of - the highest within the spiritual realm of tones, sprang from the - soil of their fatherland. All the more painful must it have been - for you to feel that a foreign power has invaded this royal citadel - of the noblest, that above the mounds of the dead and around the - dwelling-place of the only survivor of the band, phantoms are - leading the dance who can boast of no kinship with the princely - spirits of those royal houses; that shallowness is abusing the name - and insignia of art, and unworthy dalliance with sacred things is - beclouding and dissipating appreciation for the pure and eternally - beautiful. - - For this reason they feel a greater and livelier sense than - ever before that the great need of the present moment is a new - impulse directed by a powerful hand, a new advent of the ruler in - his domain. It is this need which leads them to you to-day, and - following are the petitions which they lay before you in behalf of - all to whom these wishes are dear, and in the name of native art. - - Do not withhold longer from the popular enjoyment, do not keep - longer from the oppressed sense of that which is great and perfect, - a performance of the latest masterworks of your hand. We know that - a grand sacred composition has been associated with that first one - in which you have immortalized the emotions of a soul, penetrated - and transfigured by the power of faith and superterrestrial light. - We know that a new flower glows in the garland of your glorious, - still unequalled symphonies. For years, ever since the thunders - of the Victory at Vittoria ceased to reverberate, we have waited - and hoped to see you distribute new gifts from the fulness of your - riches to the circle of your friends. Do not longer disappoint the - general expectations! Heighten the effect of your newest creations - by the joy of becoming first acquainted with them through you! - Do not allow these, your latest offspring, some day to appear, - perhaps, as foreigners in their place of birth, introduced, - perhaps, by persons to whom you and your mind are strange! Appear - soon among your friends, your admirers, your venerators! This is - our nearest and first prayer. - - Other claims on your genius have been made public. The desires - expressed and offers made to you more than a year ago by the - management of our Court Opera and the Society of Austrian Friends - of Music had too long been the unuttered wish of all admirers of - art, and your name stimulated the hopes and expectations of too - many not to obtain the quickest and widest publicity, not to awaken - the most general interest. Poetry has done her share in giving - support to these lovely hopes and wishes. Worthy material from the - hand of a valued poet waits to be charmed into life by your fancy. - Do not let that intimate call to so noble an aim be made in vain. - Do not delay longer to lead us back to those departed days when the - song of Polyhymnia moved powerfully and delighted the initiates in - art and the hearts of the multitude! - - Need we tell you with what regret your retirement from public life - has filled us? Need we assure you that at a time when all glances - were hopefully turned towards you, all perceived with sorrow that - _the one_ man whom all of us are compelled to acknowledge as - foremost among living men in his domain, looked on in silence as - foreign art took possession of German soil, the seat of honor of - the German muse, while German works gave pleasure only by echoing - the favorite tunes of foreigners and, where the most excellent had - lived and labored, a second childhood of taste threatens to follow - the Golden Age of Art? - - You alone are able to insure a decisive victory to the efforts of - the best amongst us. From you the native Art Society and the German - Opera expect new blossoms, rejuvenated life and a new sovereignty - of the true and beautiful over the dominion to which the prevalent - spirit of fashion wishes to subject even the eternal laws of art. - Bid us hope that the wishes of all who have listened to the sound - of your harmonies will soon be fulfilled! This is our most urgent - second prayer. - - May the year which we have begun not come to an end without - rejoicing us with the fruits of our petition and may the coming - Spring when it witnesses the unfolding of one of our longed-for - gifts become a twofold blooming-time for us and all the world of - art! - - Vienna, February, 1824. - -This address was signed by thirty of Beethoven's friends and admirers, -among them being Prince Lichnowsky, Count Dietrichstein, Count -Lichnowsky, Abbe Stadler, Count Palfy, Count Fries, Dr. Sonnleithner, -and the publishers Diabelli, Artaria, Leidesdorf and Steiner and Co. -The most active agent in securing signatures was Count Lichnowsky. -It was published in Baeuerle's "Theater-Zeitung" and also in Kanne's -journal. This publication, and gossip to the effect that he had -prompted both writing and printing, annoyed Beethoven greatly. He gave -vent to his rage in a remark which he himself wrote in a Conversation -Book: "Now that the thing has taken this turn I can no longer find -joy in it. The atrocity of attributing such an act to me sickens me -with the whole business and I am scarcely able to address even a few -words to men of such intellectual prominence. Not a single critic can -boast of having received a letter from me. I have never----" there -his outburst breaks off; he did not finish the sentence in writing. -Schindler tried to ease his mind! "Your fears are groundless," he -wrote; "your honor has not been compromised--let that suffice you; -nobody will accuse you of having been directly concerned in it." Court -Secretary von Felsburg and J. N. Bihler, a tutor in the imperial -household, waited upon Beethoven one afternoon to present the address, -and talk over its suggestions. Beethoven said he wanted to read it -when alone. Later Schindler went to him and found him with the letter -in his hand. He was manifestly moved by its expressions and handed it -to Schindler to read while he went to the window and gazed out for -quite a while. Then he returned to Schindler, said briefly: "It is -very beautiful!--it rejoices me greatly!" and when Schindler also had -expressed his delight added: "Let us go out for a walk." During the -walk he remained sunk in thought. - -[Sidenote: A CONSPIRACY OF FRIENDS] - -The object had in view by the designers of the memorial was -accomplished;--Beethoven was lifted out of his despondent mood and -inspired with new determination. By March Schindler had been informed -that the concert would be given in Vienna. He lauded Beethoven's -decision and begged him not to distress himself with vain imaginings -about the outcome--everything would go gloriously and everybody -would esteem it an honor to participate. Expressions of satisfaction -poured in on the composer from all quarters, and also offers of help. -Beethoven's friends gathered together and discussed the details in the -liveliest fashion--the time, the place, the programme, the choir and -orchestra, who should sing the solos, the price of seats, the number -of rehearsals. The concert-season was drawing to a close and delay was -hazardous; but delay there was, for Beethoven was vacillating, full -of doubtings and suspicions, and there was a too great multiplicity -of counsellors. Schindler was kept extremely busy; Lichnowsky and -Schuppanzigh bestirred themselves mightily; Brother Johann came to -the fore with advice and suggestions, especially about the business -administration; Nephew Karl, much to Schindler's dissatisfaction, -not only ran errands but volunteered his opinion on many topics. A -page from a Conversation Book will disclose how the consultations -with Beethoven were carried on--for Beethoven's consent to every step -had to be obtained, which was a pity. In the following excerpt it is -Schuppanzigh who is speaking to the composer, whom he, as was his wont, -addresses in the third person--as was fitting to the dignity of "Mylord -Falstaff." - - How about the concert? It is getting late--Lent will not last much - longer. He ought to give three movements [the mass is meant, of - course].--Under no circumstances a piano piece. There are no piano - players here. He will need Buringer [Piringer] to provide the best - _dilettante_, Sonnleithner to look after the singers, and Plachetka - [Blahetka] for the announcements and bills--Young Sonnleithner has - all the amateur singers under his thumb. It would be a good idea - for him [Beethoven] to pay a visit to Duport _to talk to him once - more about me_. - -The significance of the concluding remark will appear later. At another -time Karl is reporting progress: - - Piringer has said that he would undertake the appointment of - the instrumentalists, Sonnleithner the chorus, Schuppanzigh the - orchestra, Blahetka the announcements, tickets, etc. So everything - is looked after. You can give two concerts.... When will you have - it announced? Schuppanzigh is coming to-morrow.... Blahetka offered - to stamp the tickets, etc., but I think that all such matters ought - to be [entrusted] to your brother. It would be safer.... Piringer - has enough to do with the choruses. Piringer is a very capable man - but not the man that Schuppanzigh is; in any event it would be - unjust to disregard S., as he has taken so much pains and spurred - on the others. - -At first it was agreed that the place should be the -Theater-an-der-Wien. Count Palfy, who had signed the memorial, was -willing to provide the theatre and all the forces, vocal as well as -instrumental, for 1200 florins, let Beethoven have as many rehearsals -as he desired and fix the prices of admission. But a difficulty -presented itself at once. At the Theater-an-der-Wien Seyfried was -chapelmaster and Clement leader of the orchestra. Beethoven wanted -Umlauf to be general conductor of the concert and Schuppanzigh leader -of the orchestra. Count Palfy was willing to sacrifice Seyfried, but -not Clement--at least, he asked that if Clement was to be displaced it -be done with as little injury to his feelings as possible. He therefore -suggested that Beethoven write a letter of explanation to Clement, -which he felt sure would solve the difficulty. Meanwhile Schindler had -begun negotiations with Duport, director of the Kaernthnerthor Theatre. -Duport was favorably inclined towards the enterprise and also towards -Schuppanzigh; but troublesome questions of another kind were now -precipitated--questions about prices of admission, the solo singers -and the number of rehearsals. On all these points Beethoven was so -irresolute that the project seemed likely to fall by the wayside; in -which crisis the leading spirits thought themselves entitled to resort -to a stratagem to give stability to the wavering mind of Beethoven. -In at least one instance the Conversation Book record was given the -appearance of a formal journal of proceedings. It was now planned that -Lichnowsky, Schindler and Schuppanzigh should simultaneously call upon -Beethoven as if by accident, turn the conversation on the points on -which it was necessary for Beethoven to reach a decision and that his -utterances should then be put into writing and he be asked, half in -jest, half in earnest, to affix his signature to the document. The ruse -succeeded for the nonce, but the result would eventually have been -woeful had Beethoven been less irresolute. After the conspirators had -gone away Beethoven saw through the trick which had been played on him -and, scenting treachery as was his wont, decided off-hand to abandon -the concert. He issued his pronunciamento to the three friends in this -characteristic fashion: - - To Count Moritz Lichnowsky. I despise treachery. Do not visit me - again. No concert. - - To Herrn Schuppanzigh. Let him not visit me more. I shall give no - concert. - - To Schindler. I request you not to come again until I send for you. - No concert. - -The three friends refused to take umbrage at Beethoven's rudeness; the -notes were not accompanied by a silken rope; they gave him time to get -over his wrath and suspicion and then went on with the preparations -for the concert. In the Conversation Book there appears a record of a -consultation which may fairly be set down as that of the meeting at -which Beethoven's helpers employed their stratagem.[112] Schindler -opens a page formally thus: - - Protocol of March 2. - - Present: - Mr. L. van Beethoven, a _musikus_. - Mr. Count v. Lichnowsky, an amateur. - Mr. Schindler, a fiddler. - Not yet present to-day: - Mr. Schuppanzigh, a fiddler representing Mylord Fallstaff. - -[Sidenote: LOOKING AFTER DETAILS] - -At this consultation Schindler reports an offer from Palfy to furnish -the Theater-an-der-Wien, orchestra, lights, etc., _appertinentia_ -for 1000 florins, provided a second or third concert be given. At a -moderate charge for admission (which would be necessary) he says the -receipts would be 4000 florins, which would yield a profit of 2000 -florins at the first concert and about 3000 at the second, when there -would be no copying charges. The prices would not be so high as at the -Ridotto Room. If Duport were to charge only 300 florins, there would -still be a further charge of 300 florins for building the platform -and no end of vexation and labor. Palfy wanted only his expenses. -Would Beethoven authorize him (Schindler) and Lichnowsky to complete -arrangements with Palfy? He need not be paid, and it would be possible -to withdraw from the arrangement at any time. Haste was necessary, -for a supervisor must be appointed--Umlauf or somebody else--so that -rehearsals might begin. If Schuppanzigh were given too much to do and -anything went ill the conductor would lay the blame on insufficient -study. From the record of a subsequent consultation (in March) the -following excerpts are made: - - _Lichnowsky_: It is right that the orchestra be doubled, but - superfluous to engage more than are necessary; after Schuppanzigh - and Umlauf know what is at their service at the Wiedener Theatre we - can tell what is needed. - - _Schindler_: Lichnowsky says that a smaller orchestra is - more effective at the Theater-an-der-Wien than a large - one in the Ridotto Room. You need not take all at the - Theater-an-der-Wien--none at all if you do not need them,--that is - the arrangement with Palfy. - - _Lichnowsky_: Unnecessary expenses must be avoided. - - _Schindler_: You will not have to pay the forces at the - Theater-an-der-Wien at all--so that may be deducted. The days of - performance if agreeable to you would be the 22nd or 23rd or 24th - of this month. - - _Lichnowsky_: You will make money, and more if you give a second - concert, when it will not be necessary that all the pieces be new; - you will have the same symphony and two other missal movements. - - _Schindler_: The prices of admission will be considerably modified - at 2 florins for the parterre, 2 florins for the gallery and 15 - florins for the seats.--You ought not to seek difficulties where - there are none; if the worst comes to the worst, everything will be - settled--The question is not whether there are more difficulties at - the theatre or the Ridotto Room--I shall see Schuppanzigh to-day - noon; but before then Lichnowsky will go to Palfy tentatively to - report your decision. - -The conversation continued (probably the next day): - - _Schindler_: Schuppanzigh is greatly pleased that you have come - to an understanding with Palfy. He will make use of the entire - orchestra of the theatre. He is coming to the Ridotto Room to-day, - as he hopes to find you there. The choruses at the theatre are - also good; Schuppanzigh says that the women's choir of the society - is not of the best because they are all young girls; which is - true.--The Baron took the tempo just once again as fast, therefore - your advice was highly important; not until the second time did it - go well.--Besides, the women's choir is thoroughly bad. Falstaff - was also convinced and is now glad that nothing but the men's choir - will be needed. The solo voices are much too weak for the room and - too--young.--The soprano singer is sixteen years old at the most. - Palfy is sending you word that he will send you his offer, which - you know, and the promise which he made, to-morrow in writing.--You - are choosing the lesser of two evils.--Twenty to twenty-four - for each part in the chorus are already on hand.--Of the twelve - violins for each part we to-day selected the six best, who are to - be arranged in rank and file.--The only wish that Palfy has, as - he admitted to Lichnowsky to-day, is that Klement be handled as - gently as possible so that his feelings may not be hurt. For this - reason we all request you to write a billet to Klement and tell - the truth as it is. But as there is no question but that he will - come to the second concert, I suggest that the direction be then - given to him.--Schuppanzigh is agreed to this. And as Piringer of - the Theater-an-der-Wien pretends that as a high R. I. official he - cannot take part, Klement might take first place among the second - violins at the first concert and Schuppanzigh at the second.--Palfy - does not at all want that you shall take Klement, but only that you - shall take the trouble to write him a billet and tell him about - the matter. He will certainly be agreeable.--He [Schuppanzigh] has - become much quieter and more _commode_ since he was in Russia--his - paunch is already beginning to embarrass him. Boehm will play first - violin, Piringer will not play at the An-der-Wien, which is all one - to Schuppanzigh. - -[Sidenote: COMPOSITION OF THE PERFORMING FORCE] - -But matters were not so easily arranged with Clement as Schindler had -imagined. He did not want to be deprived of the honor of playing at the -concert, the orchestra of the Theater-an-der-Wien sided with him and -declared that it would not play under Schuppanzigh. Schindler appealed -to Count Palfy, who knew that though you can lead a horse to water -you cannot make him drink. He said that he could command the men to -play under Schuppanzigh, but he did not want to be answerable for the -mischief which would result. Schindler advised Beethoven that if Palfy -stood by Clement the contract for the Kaernthnerthor Theatre be closed -with Duport. Up to late in April it was as good as settled that the -concert would be given at the Theater-an-der-Wien, though Beethoven's -fatal indecision left the point uncertain. With negotiations pending -with both theatres the Ridotto Room came up for consideration, and -finally (it would seem as a consequence of advice by the Steiner -firm), also a fourth _locale_. This was the Landstaendischer Saal, a -small room in which the _Concerts Spirituels_ took place. Lichnowsky, -when he heard that Beethoven was considering such a step, hurried to -him with representations that if the hall were taken there would be -trouble with Palfy and he himself humiliated and embarrassed, since he -had come to an agreement with the manager in his name. He as well as -Schindler was sorely tried by the new turn of affairs and represented -to Beethoven that the room was too small, holding only 500 persons, and -that the court would not go there. But Nephew Karl favored the hall -because its choice would avoid the difficulties (_Sauerei_) incident -to the selection of either of the theatres. Lichnowsky and Schindler -did not seek to hide their displeasure from Beethoven because of his -willingness to take the advice of others (meaning, no doubt, Brother -Johann, Nephew Karl and Steiner), in preference to theirs, but at -length circumstances compelled him to abandon all other plans and -agree to take the Kaernthnerthor Theatre. He considered the noon hour as -the time for the concert, but Johann told him that an evening concert -was worth 1500 florins more than one given in the daytime; he clung -to the Landstaendischer Saal, but Schindler told him that on the day -which had been fixed upon there was to be a concert at the Ridotto -Room in which Sontag, Unger and the Italian singers would take part. -"The girls" would therefore be unavailable for his concert and the -court would, of course, go to the fashionable place and affair. As -late as April 21, it was publicly announced that the concert would -be given in the Theater-an-der-Wien, but at length Beethoven made up -his mind, and Schindler was empowered to close with Duport for the -Kaernthnerthor Theatre. Palfy yielded to the composer's wishes, but -regretfully, saying that he would rather lose 1000 florins than the -honor of having the concert in his house. It would seem as if it was -the cabal in the orchestra against Schuppanzigh which ended Beethoven's -irresolution. Beethoven now decided to take the Court theatre for 400 -florins, chorus and orchestra being included as well as the lighting, -with the privilege of a repetition on the same terms in seven or eight -days. In the letter which Beethoven sent to Duport, were named Sontag, -Unger and Preisinger (bass) as solo singers, Umlauf and Schuppanzigh -as leaders, the orchestra and chorus were to be augmented from the -amateur forces of the Gesellschaft der Musikfreunde. There were to be -24 violins, 10 violas, 12 contrabasses and violoncellos, and the number -of wind-instruments was to be doubled, for which reason room would have -to be provided for the orchestra on the stage. Duport was requested to -fix the date not later than May 3rd or 4th and was informed that the -reason why the agreement with Count Palfy had been cancelled was that -the Theater-an-der-Wien was lacking in capable solo singers and that -Palfy wanted Clement to lead the orchestra, whereas Beethoven had long -before selected Schuppanzigh for the post. With a change of date to May -7 this arrangement was formally confirmed. - -But many details remained to be settled, the most vexatious to -Beethoven being the prices of admission. Beethoven wanted an advance -on the regular tariff. Duport appealed to the Minister of Police, but -permission to raise the prices was refused. In the selection of solo -singers Therese Gruenbaum had been considered, but she was eventually -set aside in favor of Henrietta Sontag, for whom Beethoven had a -personal admiration (he could not know much, if anything, about her -voice and art). She and Unger, who had a sincere love for Beethoven's -music, were the composer's "pretty witches" and had been invited by -him to dinner. Jaeger had been suggested for the tenor part, but Anton -Haitzinger was chosen because, in a spirit of professional courtesy, -Jaeger refused to take a part away from a Kaernthnerthor singer. Forti -and Preisinger were rival candidates for the solo bass parts. The -latter was considered the more musical of the two and better fitted -for Beethoven's music, and was therefore selected. He took part in -the rehearsals, and for him Beethoven made a change in the music of -the recitative in the Symphony (Schindler gives it in his biography); -but at the last the _tessitura_ of the part was found to be too high -for him and Preisinger had to withdraw. It was impossible under the -circumstances now to appeal to Forti, and the part was entrusted to -Seipelt of the company at the Theater-an-der-Wien. - -It was originally intended that the programme should consist of the -new Overture (Op. 124), the Mass in D and the new Symphony; but -realizing that this would make the concert unduly long Beethoven first -decided to omit the _Gloria_ of the mass, and after the rehearsals -had already begun he curtailed the list still more by eliding the -_Sanctus_. The large amount of copying involved was done by a staff -of men some of whom worked, apparently, under the supervision of the -widow of Schlemmer, Beethoven's favorite copyist who had died the year -before. The composer angrily rejected Haslinger's suggestion that -the chorus parts be engraved, but consented to have them duplicated -by lithographic process. The church authorities were opposed to the -performance of missal music in a theatre and the censor therefore -withheld his approval of the programme. So, in April, at the suggestion -of Schindler, Beethoven wrote a letter to the censor, Sartorius, in -which he pleaded for his consent to the performance on the ground that -he was giving the concert by request, had involved himself in costs -by reason of the copying, there was no time in which to produce other -novelties, and if consent were refused he would be compelled to abandon -the concert and all his expenditures would have been in vain. The three -ecclesiastical pieces which were to be performed were to be listed on -the programme as hymns. The letter failed of its mission; not until an -appeal was made to Count Sedlnitzky, the Police President, through the -agency of Count Lichnowsky, was the performance sanctioned. - -[Sidenote: THE COMPOSER AND HONORARY TITLES] - -One further detail of the preparations, as disclosed by a discussion -in Beethoven's ministerial cabinet, is too interesting to be omitted. -The time is come when bills must be posted in front of the theatre. -Schindler is the first speaker: - - Master! Listen! I have something to say, so follow me: How shall - the placard be worded (it must be printed to-day); shall I put in - Member of the Royal Academy at Stockholm and Amsterdam? Tell me - briefly. What a tremendous title!! - - _Schuppanzigh_: I am not in favor of it. Beethoven is dictator and - president of all the academies in the world and sensible people - will look upon this title as vanity on his part. - - _Schindler_: My lord is not wrong. At any rate it will be made - public by the last notices in the newspapers. The name of - Beethoven shines brightest without affix of any kind and when most - unassuming; all the world knows who and what you are. It will do - your posterity no good.--Who knows what a later time will bring - forth.... I must go now to get the bill ready for to-morrow. It is - half-past 5. - -This was, no doubt, another case in which it was thought judicious to -get Beethoven's consent beyond equivocation. There is record of another -conversation on the subject. Schindler speaks again: - - Well then, it shall appear on the bill to-morrow, Member of the - Royal Academies of Stockholm and Amsterdam. Nothing more; that - sounds best.--Then it ought to read of Arts and Sciences.--But when - one says Roy. Acad. the _epitheton_ Arts and Sciences is understood. - -In neither of these consultations, which took place two days before -the concert, is there any indication that Beethoven objected to the -use of the title; on the contrary, he seems to have desired to make -it more explicit by the inclusion of the words "Arts and Sciences." -But Schindler relates that when Bernard, in preparing an announcement -for the public press, added to Beethoven's name: "Honorary Member of -the Academies of Arts and Sciences at Stockholm and Amsterdam and also -Honorary Citizen of the R. I. Capital and Residential City Vienna," -he rebuked the editor severely, not wanting to have such "silly and -ridiculous playthings" figure in the announcement. As a matter of fact, -all titles were omitted in the affiches of the two concerts, though -Otto Jahn found one for the second meeting in the Fuchs Collection -which contained them. It would seem that after one had been thus -printed it was after all rejected by Beethoven. - -The rehearsals were now in progress. Dirzka was making good headway -with the choruses and was satisfied; Schuppanzigh was holding -rehearsals for the strings in the rehearsal-room of the Ridotto; -the solo singers were studying under the supervision of Beethoven, -sometimes in his lodgings, Umlauf assisting. Accustomed to Rossini's -music, the principal singers found it difficult to assimilate the -Beethovenian manner, especially as it is exemplified in the concluding -movement of the symphony. They pleaded with the composer for changes -which would lighten their labors, but he was adamant. Unger called -him a "tyrant over all the vocal organs" to his face, but when he -still refused to grant her petitions she turned to Sontag and said: -"Well, then we must go on torturing ourselves in the name of God!" The -choirmaster requested that the passage in the fugue of the _Credo_ -where the sopranos enter on B-flat _in alt_ be altered, because none -of the singers could reach the note; but though Umlauf reinforced that -argument, a refusal was the only reply. In only one alteration did -Beethoven acquiesce;--he changed the concluding passage of the bass -recitative, because Preisinger could not sing the high F-sharp; but -Preisinger did not sing at all at the concert. The consequences of his -obduracy were not realized by Beethoven at the concert, for though he -stood among the performers and indicated the tempo at the beginning of -each movement he could not hear the music except with his mental ear. -The obvious thing happened;--the singers who could not reach the high -tones simply omitted them. Duport had allowed two full rehearsals. -There was to have been a third, but it was prevented by a rehearsal for -a ballet. At the final meeting on May 6, Beethoven was "dissolved in -devotion and emotion" at the performance of the _Kyrie_, and after the -Symphony stationed himself at the door and embraced all the amateurs -who had taken part.[113] The official announcement of the concert read -as follows: - - GRAND - MUSICAL CONCERT - by - MR. L. VAN BEETHOVEN - which will take place - To-morrow, May 7, 1824 - in the R. I. Court Theatre beside the Kaernthnerthor. - - The musical pieces to be performed are the latest works of Mr. - Ludwig van Beethoven. - - First: A Grand Overture. - - Second: Three Grand Hymns with Solo and Chorus Voices. - - Third: A Grand Symphony with Solo and Chorus Voices entering in the - finale on Schiller's Ode to Joy. - - The solos will be performed by the Demoiselles Sonntag and Unger - and the Messrs. Haizinger and Seipelt. Mr. Schuppanzigh has - undertaken the direction of the orchestra, Mr. Chapelmaster Umlauf - the direction of the whole and the Music Society the augmentation - of the chorus and orchestra as a favor. - - Mr. Ludwig van Beethoven will himself participate in the general - direction. - - Prices of admission as usual. - - Beginning at 7 o'clock in the evening. - -[Sidenote: INCIDENTS OF THE PERFORMANCE] - -The overture was that to "The Consecration of the House." Duport had -a hand in the drafting of the announcement and wanted to include in -it the statement that Beethoven would conduct with Umlauf. Schindler -in reporting the fact to Beethoven added: "I did not know what to -reply and so it was omitted this time. You _could_ surely conduct the -overture alone. It would put too severe a strain upon your ears and for -that reason I would not advise you to conduct the whole." - -The theatre was crowded in every part except the imperial box; that -was empty. Beethoven had gone in person, accompanied by Schindler, to -invite the Imperial Family, and some of its members promised to attend; -but the Emperor and Empress had left Vienna a few days before and -Archduke Rudolph, who had naturally displayed interest in the affair, -was in Olmuetz. But we hear of several of Beethoven's present and -former friends seated in various parts of the house;--poor, bedridden -Zmeskall was carried to his seat in a sedan chair. Some of the -foremost musicians of Vienna were in the band--Mayseder, Boehm, Jansa, -Linke, etc. The performance was far from perfect. There was lack of a -homogeneous power, a paucity of nuance, a poor distribution of lights -and shades. Nevertheless, strange as the music must have sounded to the -audience, the impression which it made was profound and the applause -which it elicited enthusiastic to a degree. At one point in the -Scherzo, presumably at the startling entry of the tympani at the _ritmo -di tre battute_, the listeners could scarcely restrain themselves, and -it seemed as if a repetition then and there would be insisted upon. To -this Beethoven, no doubt engrossed by the music which he was following -in his mind, was oblivious. Either after the Scherzo or at the end -of the Symphony,[114] while Beethoven was still gazing at his score, -Fraeulein Unger, whose happiness can be imagined, plucked him by the -sleeve and directed his attention to the clapping hands and waving hats -and handkerchiefs. Then he turned to the audience and bowed. - -After the concert Beethoven's friends, as was natural, came together to -exchange comments and felicitate him. From Schindler Beethoven received -a report which is preserved in the Conversation Book. It gives us a -glimpse of his own joy and the composer's happy pride in having been -more enthusiastically greeted than the court: - - Never in my life did I hear such frenetic and yet cordial - applause. Once the second movement of the Symphony was completely - interrupted by applause--and there was a demand for a repetition. - The reception was more than imperial--for the people burst out - in a storm 4 times. At the last there were cries of Vivat!--The - wind-instruments did very bravely--not the slightest disturbance - could be heard.--When the parterre broke out in applauding cries - the 5th time the Police Commissioner yelled Silence!--The court - only 3 successive times but Beethoven 5 times.--My triumph is now - attained; for now I can speak from my heart. Yesterday I still - feared secretly that the Mass would be prohibited because I heard - that the Archbishop had protested against it. After all I was right - in at first not saying anything to the Police Commissioner. By God, - it would have happened!--He surely never has been in the Court - Theatre. Well, _Pax tecum_! - -Joseph Huettenbrenner went with Schindler when he escorted the composer -to his lodgings. At this point there appears to be something like a -flight of the imagination in Schindler's narrative. Arrived at home -Schindler hands Beethoven the box-office report. He takes it, gives -it a glance and falls in a swoon. The two friends raise him from -the floor and carry him to a sofa, where he lies without uttering a -word until far into the night. Then they observe that he has fallen -asleep, and depart. Next morning Beethoven is found on the sofa, -still in his concert-clothes. Schindler should have taken a glance at -the Conversation Books before writing this dramatic story. There he -would have found a record of his own words which shows that he came -to Beethoven on the day after the concert and asked him to send his -nephew to meet him in the afternoon at the box-office of the theatre -where the accounts were to be settled. He did not know what the -receipts were even then, for he remarks to Beethoven, "In Paris and -London the concert would certainly have yielded from 12 to 15 thousand -florins; here it may be as many hundreds." And then he goes on: "After -yesterday you must now too plainly see that you are trampling upon -your own interests by remaining longer within these walls. In short, I -have no words to express my feelings at the wrong which you are doing -yourself.... Have you recovered from yesterday's exertions?" - -[Sidenote: FRIENDS ACCUSED OF DISHONESTY] - -The financial results of the concert fell far short of Beethoven's -expectations. The gross receipts were 2200 florins in the depreciated -Vienna money, of which only 420 florins remained after paying the cost -of administration and copying; and against this pitiful sum some petty -expenses were still chargeable. Beethoven was not only disappointed; he -was chagrined and thrown into a fuming ill-humor. He invited Schindler, -Umlauf and Schuppanzigh to dine with him at the restaurant "Zum wilden -Mann" in the Prater. The composer came with his nephew; "his brow was -clouded, his words were cold, peevish, captious," says Schindler. He -had ordered an "opulent" meal, but no sooner had the party sat down to -the table than the "explosion which was imminent" came. In plainest -terms he burst out with the charge that the management and Schindler -had cheated him. Umlauf and Schuppanzigh tried to convince him that -that was impossible, as every penny had passed through the hands of the -two theatre cashiers, whose accounts tallied, and that though it was -contrary to custom, his nephew had acted in behalf of his brother as -comptroller. Beethoven persisted in his accusation, saying that he had -his information from an entirely credible source. Thereupon Schindler -and Umlauf abruptly left the room. Schuppanzigh remained behind just -long enough to get a few stripes on his broad back and then joined -his companions in misery. Together they finished their meal at a -restaurant in the Leopoldstadt.[115] Schindler, after a disquisition -on Beethoven's habit of estranging his friends by insulting them and -then winning them back by the frankness of his confessions and the -sincerity of his contrition, says that after the composer's return -from Baden in November, he approached him in this winning mood, "and -the entire occurrence was at once drowned in the waters of Lethe." But -Schindler was not only in error as to the time of the incident--he -says it was after the second concert--he also seems to have forgotten -that he received a letter which on its face shows that he had written -to Beethoven defending himself against the charges made. Beethoven's -letter was as follows: - - I did not accuse you of any wrongdoing in connection with the - concert; but unwisdom and arbitrary actions spoiled much. Besides - I have a certain fear lest some great misfortune shall some time - happen to me through you. Clogged drains often open suddenly, and - that day in the Prater I thought you were offensive in several - things. Moreover there are many times when I would rather try to - repay the services which you perform for me with a little gift than - with a _meal_, for I admit that I am often too greatly disturbed. - If you do not see a pleasant face you say at once: "Bad weather - again to-day"; for being commonplace yourself how can you help - misunderstanding that which is not commonplace? - - In short I love my independence too much. There will be no lack - of opportunities to invite you, but it is impossible to do so - continually, inasmuch as thereby all my affairs are disarranged. - - Duport has consented to next Tuesday for the concert. For the - Landstaendischen Saal, which I might have had for to-morrow, he - again refuses to let me have the singers. He has also again - referred me to the police; therefore please go there with the bill - and learn if there is any objection to the second time. I would - never have accepted the favors done me gratis and will not. As for - friendship that is a difficult thing in your case. In no event - would I like to entrust my welfare to you since you lack judgment - and act arbitrarily, and I learned some time ago to know you from a - side which is not to your credit; and so did others. I must confess - that the purity of my character does not permit me to recompense - mere favors with friendship, although I am ready willingly to serve - your welfare. - - B----n. - -[Sidenote: FINANCIAL FAILURE REPEATED] - -A second concert had been contemplated from the outset, or at least -since the opening of negotiations with Palfy. Schindler says that -Duport offered to pay all expenses and guarantee 500 florins Convention -Coin (1200 florins Vienna Standard) with the understanding that the -profits should be divided equally between Beethoven and the exchequer -of the theatre. But he wanted a change made in the programme. To this -change, obviously designed as a concession to the popular taste, -Beethoven seems to have given his consent. The concert took place -on Sunday, May 23rd, at midday--half-past 12 o'clock. Of the missal -hymns only one, the _Kyrie_, was performed; between the overture and -it Beethoven's trio, "Tremate, empj, tremate," was sung by Madame -Dardanelli and Signori Donzelli and Botticelli. The original solo -singers sang in the _Kyrie_ and the Symphony, which numbers were -separated by Rossini's "Di tanti palpiti" in a transposed key sung by -the tenor David "almost throughout in a falsetto voice." Schindler says -that Sontag also sang her favorite _aria di bravura_ by Mercadante, but -of this number there is no mention on the _affiche_. The delightful -weather lured the people into the open air, the house was not half full -and there was, in consequence, a deficit of 800 florins. Nor was the -popular demonstration of enthusiasm over the music so great as at the -first concert, and Beethoven, who had not favored the repetition, was -so disheartened that he was with difficulty persuaded to accept the -500 florins which Duport had guaranteed to him. He was also vexed to -find his old trio announced as a novelty (it was composed more than -twenty years before and had been performed in 1814), and so was Tobias -Haslinger, who had bought but had not published it. Moreover, Haslinger -had been overlooked in the distribution of complimentary tickets. -Beethoven had to apologize to him for the oversight, which he protested -was due to an inadvertence, and also to explain that the announcement -of the trio as a new work was of Duport's doing, not his. - -FOOTNOTES: - -[106] Page 157 _et seq._ - -[107] There are several stories touching the origin of the fugue-theme -of the Scherzo of the D minor symphony, which may be given for what -they are worth. Czerny says that the theme occurred to Beethoven while -listening to the twittering of sparrows in a garden. Holz told Jahn -that one evening Beethoven was seated in the forest at Schoenbrunn and -in the gloaming fancied he saw all about him a multitude of gnomes -popping in and out of their hiding-places; and this stirred his fancy -to the invention of the theme. Another story has it that it flashed -into his mind with a sudden outbursting glitter of lights after he had -long been seated in the dark. - -[108] "Sinfonie at the beginning only 4 voices, 2 viol. viola, basso, -amongst them forte with other voices and if possible bring in all the -other instruments one by one and gradually." - -[109] Nottebohm fills the hiatus with "Trombones? Subjects?" - -[110] "Abgerissene Saetze wie Fuersten sind Bettler u. s. w." The phrase -is probably a record of Beethoven's imperfect recollection of the line -"_Bettler_ werden Fuerstenbrueder," which appeared in an early version -of Schiller's poem where now we read "_Alle Menschen werden Brueder_." -The thought lies near that it was the early form of the poem, when -it was still an "Ode to Freedom" (not "to Joy"), which first aroused -enthusiastic admiration for it in Beethoven's mind. In a Conversation -Book of 1824 Bernard says to Beethoven: "In your text it reads," -followed by the observation, "All this is due here to the direction -of the aristocracy"--which may or may not have connection with a -conversation in which politics was playing a part. - -[111] So Thayer remarks. - -[112] For this assumption the present editor is alone responsible. -Thayer, who says nothing on the subject, corrects Schindler's date to -March 20, for no obvious reason. - -[113] The statement about the _Kyrie_ was made by Holz to Jahn; that -about the Symphony, by Fuchs. - -[114] The incident is variously related. Schindler and Fraeulein Unger -(the latter of whom told it to George Grove in London in 1869) say -that it took place at the end of the concert. Thalberg, the pianist, -who was present, says that it was after the Scherzo. A note amongst -Thayer's papers reads: "November 23, 1860. I saw Thalberg in Paris. -He told me as follows: He was present at Beethoven's concert in the -Kaernthnerthor Theatre 1824. Beethoven was dressed in black dress-coat, -white neckerchief, and waistcoat, black satin small-clothes, black silk -stockings, shoes with buckles. He saw after the Scherzo of the 9th -symphony, how B. stood turning over the leaves of his score utterly -deaf to the immense applause, and Unger pulled him by the sleeve and -then pointed to the audience when he turned and bowed. Umlauf told the -choir and orchestra to pay no attention whatever to Beethoven's beating -of the time but all to watch him. Conradin Kreutzer was at the P. F." -Did Thalberg describe Beethoven's dress correctly? Evidently not. In -a conversation just before the concert Schindler, who is to call for -Beethoven, tells him to make himself ready. "We will take everything -with us now; also take your green coat, which you can put on when you -conduct. The theatre will be dark and no one will notice it.... O, -great master, you do not own a black frock coat! The green one will -have to do; in a few days the black one will be ready." - -[115] It is more than likely that Beethoven's "credible" informant was -his brother Johann. He was jealous of Schindler's participation in the -composer's business affairs and probably took advantage of a favorable -opportunity to strengthen Beethoven's chronic suspicion and growing -distrust of what the composer himself looked upon as Schindler's -officiousness. In the Conversation Book used at the meeting after the -concert, Karl tells his uncle: "Schindler knows from an ear-witness -that your brother said in the presence of several persons that he was -only waiting for the concert to be over before driving S. out of the -house." - - - - -Chapter VI - - Incidents and Labors of 1824--Bernard's Oratorio--Visitors at - Baden--New Publishers--A Visitor from London--Beethoven's Opinion - of his Predecessors--The Quartet in E-flat, Op. 127. - - -At the end of the chapter preceding the last, which recorded the doings -of the year 1823, Beethoven was left in his lodgings in the Ungargasse, -occupied with work upon the Ninth Symphony, which was approaching -completion, oppressed with anxiety concerning his health and worried -about his brother's domestic affairs. As the story of his life is -resumed with the year 1824, there has been no serious change in his -physical condition, but complaints of ill health are frequent in his -communications with his friends. His eyes continue to trouble him till -late in March; Schindler cautions him not to rub them, as that might -increase the inflammation; Karl suggests buying a shade to protect them -from the glare of the light; and when Count Brunswick wants to take him -along with him to Hungary, Schindler advises him to take the trip, as -it might be beneficial for his eyes. - -[Sidenote: KIND INTEREST IN KARL'S MOTHER] - -For a moment we have a glimpse at the gentler side of the composer's -nature in a letter which he sends when the year is about a week old -to the widow of his brother, the wicked mother of his adopted son, -in lieu of the New Year's call which they had been prevented by work -from making. He should have come to wish her happiness for the year, -he says, had he been able: "but I know that, nevertheless, you expect -nothing but the best of good wishes for your welfare from me as well -as Karl." She had complained of being in need, and he says he would -gladly have helped her, but had himself too many expenditures, debts -and delayed receipts to prove his willingness at the moment; but he -would now give it to her "in writing" that thenceforth she might retain -the portion of her pension which had been set apart for her son. If, -in the future, he could give her money to better her condition, he -would willingly do so; moreover, he had long before assumed the debt -of 280 florins and 20 kreutzers which she owed Steiner. Manifestly a -truce had been established between the woman and her brother-in-law, -and in the absence of any evidence that she was in any way concerned -in an escapade of Karl's later in the year, it would appear that she -never violated it; it was not the woman whom Beethoven hated, but the -youth whom he loved, who brought grief and an almost broken heart into -his last days. Nevertheless, there is more than passive contentment -exhibited in this letter; there is also an active magnanimity which -finds even warmer expression in a letter which he seems to have written -at an earlier date to his friend Bernard. Bernard[116] had been helpful -to Beethoven in drawing up the memorial to the court in the matter of -the guardianship and was among the friends whom Beethoven consulted -about Karl's education and bringing up. To him Beethoven writes: - - I beg of you before the day is over to make inquiries about F. v. - B. [Frau van Beethoven] and if it is possible, to have her assured - through her physician that from this month on _so long as I shall - live_ she shall have the enjoyment of the whole of her pension, - and I will see to it that if I die first, Karl shall not need the - half of her pension. It was, moreover, always my intention to - permit her to keep the whole of her pension so soon as Karl left - the Institute, but as her illness and need are so great she must be - helped at once. God has never deserted me in this heavy task and I - shall continue to trust in Him. If possible I beg of you to send - me information yet to-day and I will see to it that my _tenacious - brother also makes a contribution_ to her. - -The nephew was now attending the philological lectures at the -university and living in the winter and spring months with his uncle. -He had left Bloechlinger's Institute in August 1823 and matriculated -at the university. He was active in the service of Beethoven, doing -work as his amanuensis, carrying messages, making purchases, and so -on; in fact, Beethoven seems to have taken up more of his time than -was good for his studies. He loved him tenderly and was unceasingly -thoughtful of his welfare; but the jealousy of his affection led him -to exercise a strictness of discipline over him which could not fail -to become irksome to a growing stripling. He left him little liberty, -and, yielding to a disposition prone to passion, he not seldom treated -him with great severity. The youth appears in the Conversation Books as -lively, clever and shrewd, and Beethoven, proud of his natural gifts -of mind, was indulgent of his comments on others, permitting him -apparently to speak lightly and discourteously of the men upon whose -help and counsel he was obliged to depend. The result of Beethoven's -extremes of harsh rebuke and loving admonition, of violent accusation -and tender solicitude, was to encourage him in his innate bent for -disingenuousness and deception, and he continued the course which he -had begun as a boy of repeating words of disparagement touching those -against whom his uncle levelled his criticisms, and of reporting, no -doubt with embellishments of his own invention, the speeches which told -of the popular admiration in which the great composer was held. By -this species of flattery he played upon the weakness of his uncle and -actually obtained an influence over him in the course of time which he -exploited to his own advantage in various directions. He was naturally -inclined to indolence and self-indulgence, and it is not strange that -Beethoven's self-sacrifice in his behalf never awakened in him any deep -sense of gratitude, while his unreasonable and ill-considered severity -aroused a spirit of rebellion in him which grew with his advance -towards adolescence. Beethoven never seems to have realized that he had -outgrown the period when he could be treated as a child, and it was a -child's submission which he asked of him. - -Grillparzer's opera-book was a frequent subject of conversation between -Beethoven and his friends in the early months of 1824, but petitions -and advice were alike unfruitful. He did not go to work upon it nor -yet upon a composition which presented a more urgent obligation. This -was the oratorio which he had agreed to write for the Gesellschaft -der Musikfreunde and on which he had received an advance of money in -1819. Here the fatal procrastination, though it may have been agreeable -to Beethoven, was not altogether his fault. Bernard began the book, -but seems to have put it aside after a few weeks. In April, 1820, he -tells Beethoven in a Conversation Book, "I must finish the oratorio -completely this month so that it may be handed to you in Moedling." In -August, possibly, somebody writes: "I have put it seriously to _Sanctus -Bernardus_ that it is high time that it be done; that Hauschka was -urging a completion. He will finish it this month, _id est_ in 5 days, -and see you this evening at Camehl's.... When I told Bernard that -Hauschka had come to you about it he was embarrassed and--it seems to -me that he is throwing the blame on you. He does not want to show his -poetical impotency." - -[Sidenote: GROWING IMPATIENCE ABOUT AN ORATORIO] - -For four years after giving the commission, the Gesellschaft der -Musikfreunde waited before it put any signs of impatience on record. -Towards the close of October, 1823, Bernard gave a copy of the text -of the oratorio, which was entitled "Der Sieg des Kreutzes" ("The -Victory of the Cross"), to Beethoven and also one to Sonnleithner for -the society. After waiting nearly three months, the directorate of the -society at a meeting held on January 9, 1824, took action, the nature -of which was notified to both Beethoven and Bernard. The latter was -informed that as the society had left the choice of the text which -he was to compose to Beethoven, it could not say whether or not the -society would make use of the poem which he had sent until Beethoven -had set it to music, and the censor had given it his sanction. He was -also asked to cooperate with the society in stimulating Beethoven to -finish the work "so long expected by the musical world." Beethoven -was told that the choice of a book for the oratorio which the society -had commissioned him to write four years before had been left to him; -that it had been informed that Bernard had undertaken to write it; -that its inquiries as to when the music would be completed had always -been answered by the statement that the poem had not been received. -Not presuming to ask a composer of his eminence to outline the plan -of a musical composition before he had become familiar with the work -as a whole and had satisfied himself touching its plan and execution, -the society, therefore, had thitherto always directed its inquiries to -Bernard, who had delivered the book in October. In view of the fact -that the society could not use the text until it had been set and he -(Beethoven) had repeatedly expressed his intention to write a work -of the kind and confirmed the receipt of earnest money paid at his -request, the society asked him explicitly to say whether or not he -intended to compose Bernard's poem, and, if so, when the work might be -expected. - -Beethoven answered the letter at great length. He said that he had not -asked Bernard to write the text but had been told that the society had -commissioned him to do so; Bernard being the editor of a newspaper it -was impossible for him to consult him often; moreover, consultations -of this character would be long drawn out and personally disagreeable, -as Bernard had written nothing for music except "Libussa," which had -not been performed at the time, but which he had known since 1809 and -which had required many alterations; he was compelled to be somewhat -skeptical about the collaboration and have the book before him in its -entirety. He had once received a portion of the book, but Bernard, to -the best of his recollection, had said that it would have to be changed -and he had given it back to him. At last he had received the whole -text at the time that the society received it, but other obligations -which illness had retarded had had to be fulfilled, since, as the -society probably knew, he was compelled to live from his compositions. -Many changes, some of which he had indicated to Bernard, would have to -be made in the book. He would finish his suggestions and consult with -Bernard, for, - - though I find the material good and the poem has a value, it cannot - remain _as it is_. The poet and I wrote "Christus am Oelberg" in - 14 days, but that poet was musical and had written several things - for music and I could consult with him at any moment. Let us leave - out of consideration _the value_ of poems of this sort; we all - know what allowances are to be made--the merit lies in the middle. - So far as I am concerned I would rather set Homer, Klopstock, - Schiller to music; if they offer difficulties to be overcome _these - immortal poets_ at least deserve it. As soon as I am through with - making changes in the oratorio with Bernard I shall have the honor - to inform you of the fact and at the same time let the society - know when it may with certainty count upon it. That is all that I - can say about it at present. Respecting the 400 florins, Vienna - standard, sent to me _without demand_ I would have sent them back - long ago had I been able to foresee that the matter would last - much longer than I had imagined; it was grievous to me not to - be able to express myself on the subject. Concerning it I had a - notion, in order to provide at least the interest on the sum, to - unite with the society in a concert; but neither Herr Schindler - nor my brother was authorized to say anything on the subject, and - it was farthest from my thoughts that it should be done _in such a - manner_. Please inform Herrn von Sonnleithner of this. I also thank - the society heartily for the offer of the platform and its aid - which it proffered me and in time I shall make use of them. I shall - be glad to hear whether the society wishes to make use of my works - after my concert, among which is a new symphony. The Grand Mass is - really rather in the oratorio style and particularly adapted to the - society. I shall be especially pleased if my unselfishness and also - my zealous desire to serve the society in whose benevolent deeds in - behalf of art I always take the greatest interest, are recognized. - -It is interesting to note in connection with this letter that Beethoven -resents the statement that he had asked for the money given as an -earnest; that he was unwilling to assume responsibility for the -selection of Bernard as his collaborator (though Bernard was among his -friends and advisors and he had expressed satisfaction with his choice -when he accepted the commission, only insisting that the poet be paid -by the society); that he gave at least moderate approval to the book as -a whole but insisted on some alterations which were essential; that he -had been contemplating co-operation with the society in a concert, and -that he had received an offer of assistance from it in a concert which -he was to give. The letter was written on January 23, some time before -the receipt of the memorial which was the first official step toward -the great concerts of May 7 and 23. There is evidence of a kindly -feeling between the society and him, and, indeed, that feeling was -never interrupted, though the Gesellschaft der Musikfreunde never got -the oratorio nor received back the money advanced on its commission. -The society afterward elected him to honorary membership. - -[Sidenote: CONTRADICTORY ADVICE AS TO BERNARD'S BOOK] - -Beethoven was frequently urged to set to work on the music of "The -Victory of the Cross"; but he was also advised not to compose it. -Archduke Rudolph accepted the dedication of the poem and wrote to -Beethoven telling him of the fact and expressing a wish that he would -set it to music. But Schikh said to him: "If I were Beethoven I would -never compose the extremely tiresome text of this oratorio." Beethoven -had expressed satisfaction with the subject and the quality of the -lines; he discussed changes which he wished to have made with Bernard -after he had had time to consider the work as a whole; he promised -Hauschka in September that he would compose it as soon as he returned -to the city, and asked him to pay Bernard his fee; but he never set -seriously to work upon it, though at the end of the letter to Hauschka -(which bears date September 23, 1824) he reiterated his promise so that -he might, with mock solemnity, attest it by affixing his hand and seal. - -The book of "The Victory of the Cross" was based upon the ancient story -of the apparition of the cross and the legend "_In hoc signo vinces_" -to Constantine the Great. _Constantine_ has crossed the Alps into Italy -and lies encamped confronting his enemy _Maxentius_ before Rome. His -daughter _Julia_, who is represented as wife to _Maxentius_, attempts -to avert the battle, but the vision strengthens _Constantine's_ -resolve. _Julia_ hears the angelic canticles which accompany the -apparition and is converted to the true faith, persisting in it to -martyrdom, to which she is condemned by her husband. _Maxentius_ also -hears the voices, but his augurs (allegorical figures representing -_Hate_ and _Discord_) interpret them to his advantage, whereas similar -figures (_Faith_, _Hope_ and _Charity_) inspire the Christian army. -Pious canticles on the one hand, harsh songs on the other, precede the -battle, the progress of which is related by a solo voice. _Constantine_ -promises to raise the cross on the forum in Rome; the victory is won -and celebrated with Christian hymns, "Hosanna!" and "Glory to God!" -Beethoven's copy of the libretto has been preserved, and in it there -are indications that he made some heroic excisions. He permitted -_Faith_, _Hope_ and _Charity_ to remain, but banished _Hate_ and -_Discord_. It is pretty plain that Beethoven found nothing inspiring in -the work. Holz told Jahn that he said to him, "How could I get up any -enthusiasm about it?" Schindler says that Beethoven's failure to set -the book caused a rupture of the friendship which existed between him -and Bernard. The directors of the Gesellschaft der Musikfreunde dropped -the matter, neither importuning Beethoven more nor taking any steps to -recover the money paid on account. - -One outcome of the concerts of May was the appearance of a new -portrait of Beethoven. It was a lithographic reproduction of a crayon -drawing made by Stephen Decker and was printed as a supplement to the -"Allgemeine Musikalische Zeitung" edited by F. A. Kanne, on June 6, -1824. In this and two subsequent numbers of the journal (June 9 and 16) -Kanne reviewed the concerts with discriminating appreciation, ending -with an enthusiastic encomium of the composer. In 1827 Steinmueller made -a plate of Decker's drawing for Artaria. Schindler and Frimmel agree -in saying that the well-known portrait by Kriehuber is an imitation of -Decker's drawing, which was made, as Kanne's journal stated, "a few -days after his great concert in May, 1824."[117] - -During the preparations for the concerts, thought was also given to -the usual summer sojourn, and various places--Grinzing, Heiligenstadt, -Penzing, Breitensee, Hietzing, Hetzendorf--were canvassed in -consultation with Beethoven by his friends. His brother had again -offered him a home on his estate and it was expected that Count -Brunswick would come for the concert and take Beethoven back with him -to Hungary. In all of the excursions which were made in the vicinity -of Schoenbrunn in search of a summer home, Schindler accompanied the -composer to see, to advise, to negotiate. The choice fell upon Penzing, -where an apartment was found in the first storey of the house numbered -43 belonging to a tailor in Vienna named Johann Hoerr, who was rejoiced -to have so distinguished a tenant. Beethoven took it for the summer -beginning on May 1, for a rental of 180 florins, C. M. The receipt is -in existence, with a characteristic memorial of Beethoven's violent -and abrupt change of mind concerning men and things. The lodgings were -in all things adapted to his needs and Beethoven, entirely satisfied, -moved into them soon after the second concert. An old couple lived in -the parterre, but otherwise he was the only tenant of the house. But -the house lay close to a foot-bridge over the little stream called -the Wien Fluss and people crossing it frequently stopped to gaze -into his rooms. He could have saved himself the annoyance by drawing -the curtains, but instead he flew into a rage, quarrelled with his -landlord, against whom he recorded his anger by scrawling the epithet -"Schurke" (rogue, wretch, scoundrel, etc.) under his name on the -receipt, and removing to Baden (Gutenbrunn). He had been in the house -six weeks; in Baden he staid from about the 1st of August till some -time in November; and thus was again paying rent for three lodgings at -the same time. - -[Sidenote: TWO NEW OFFERS OF THE MASS IN D] - -[Sidenote: Schott and Sons Buy the Mass] - -The matter of the subscriptions for the Mass being disposed of (except -so far as the deliveries of some of the scores was concerned), and -the Symphony completed, Beethoven now had time, while getting ready -for their performance, to think also of their publication. As he had -promised to deliver the Mass to Simrock long before, so also he had -contracted to give exclusive possession of the Symphony for eighteen -months to the Philharmonic Society of London, in March, 1823. It was -eleven months after that date that the score was finished and thirteen -months before it was placed in the hands of the Philharmonic Society's -agent in Vienna. Hogarth in his history of the Philharmonic Society is -only technically correct when he says that it was not "received" by the -society until "after it had been performed at Vienna." It was handed -to Ries's representative on April 26 or 27, 1824; the first concert -took place on May 7th. When Beethoven took up the matter of publication -again he ignored Simrock, Peters, Schlesinger and the Vienna publishers -and turned to Schott and Sons of Mayence and H. A. Probst of Leipsic. -Schott and Sons had sent him their journal "Caecilia" with the request -that he recommend a correspondent in the Austrian capital, and also -send them some compositions for publication. He answered on March 10, -1824, that he would gladly serve the paper if it were not that he -felt it to be a higher and more natural calling to manifest himself -through his musical compositions; but he had instigated a search for -a fit man to act as Viennese reviewer. Of his compositions he offered -"a new Grand Mass with solo and chorus and full orchestra" which he -considered his "greatest work," and a new Grand Symphony with a finale -in the style of his Pianoforte Fantasia with chorus "but on a much -larger scale"; also a new quartet for strings.[118] The fees demanded -were 1000 florins C. M. for the Mass, 600 florins for the Symphony and -50 ducats for the Quartet. "This business only to oblige you." On the -same day he wrote to H. A. Probst offering the Mass and Symphony at -the same prices but stipulating that the latter should not be published -before July, 1825, though, to recompense the publisher for the delay, -he would let him have the pianoforte arrangement _gratis_. Only a -portion of this letter has been preserved, but the contents of the lost -fragment can be gathered from Probst's answer under date March 22, in -which he promises to deposit at once with Joseph Loydl and Co. 100 -imperial ducats to Beethoven's account, to be paid over on delivery of -three songs with pianoforte accompaniment (two of them to have parts -for other instruments, the third to be an arietta), six bagatelles -for pianoforte solo, and a grand overture with pianoforte arrangement -for 2 and 4 hands. What these works were may easily be guessed. After -this business had been arranged to the satisfaction of both parties, -Probst said, he would communicate his decision respecting the Mass. -Beethoven wrote, probably on July 3, explaining his delay on the score -that the compositions "had just been finished" but were now ready for -delivery at any moment to Herrn Gloeggl, to whom he requested that the -money be sent. On August 9, Probst informed Beethoven that the 100 -ducats had already been sent to Loydl and Co., in Vienna. A letter -written by Beethoven on the same day has been lost, but a portion of -its contents can be deduced from Probst's reply a week later--August -16. The Leipsic publisher admitted that his action in depositing the -money to be delivered in exchange for the manuscripts had been due -to reports which had reached him touching difficulties which another -publisher had had with the composer. In purchasing manuscripts without -examination he was departing from his established rule of action and -he trusted to the admiration which he felt for the composer's genius -that the latter had set apart works of excellence for him. He would -gladly have published the Symphony, but was deterred by the danger of -piracy which was peculiarly great in Austria. He promised a speedy and -handsome publication of the works purchased. A memorandum by Beethoven -indicates that he answered this letter, but the nature of his reply -is not known. It is to be presumed that he withdrew his offer of the -Symphony. The correspondence with Probst ended and the negotiations, -which had again reached the point of a deposit of the fee against the -delivery of the manuscripts, came to nothing; Schott and Sons secured -not only the Mass, Symphony and Quartet, but the smaller pieces also. -The firm accepted the offer of the Quartet at once, but asked either a -reduction of the fees for the Symphony and Mass, or permission to pay -the money in installments at intervals of six months. Subsequently the -firm offered to provide a guaranty for the deferred payments and to -consider any proposition which Beethoven had to make. The two letters, -dated respectively March 24 and April 10, remaining unanswered, -Schott and Sons again wrote on April 19 and still again on April 27; -introducing with the former letter Christian Rummel, Chapelmaster of -the Duke of Nassau, and asking a contribution to "Caecilia" in the -latter. In the midst of his preparations for the concert, Beethoven -replied and repeated his offer of the Mass and Symphony, but held the -matter of the Quartet in abeyance. He asked that payment for the other -works be made by bills drawn on a Vienna bank payable 600 florins in -one month, 500 florins in two months and 600 florins in four months. -On July 3 he also conceded the Quartet, which he promised to deliver -inside of six weeks. With this the business was concluded and, as an -undated letter of Beethoven's shows, much to his gratification; the -business methods of Schott and Sons were extremely satisfactory to him. -But the year came to an end, and the Mayence publishers were still -waiting for their manuscripts, while Beethoven was kept busy writing -explanations in answer to their questions and requests. On September 17 -Beethoven says he will attend to the copying of the works as soon as he -has returned to Vienna, and send the Quartet by the middle of October; -in November he is obliged to give two lessons a day to Archduke Rudolph -and has no time to look after the matter; on December 5 the works are -most certainly to be delivered to Fries and Co. within the current -week; on December 17 it will be another week before the works can be -delivered--the Archduke has but gone and he must look through the copy -of the score several times--and he begs his correspondents not to -think ill of him, for he had "never done anything wrong," intimating -that a certain publisher in Vienna was trying to seduce him from the -Mayence firm and to that end was seeking to make them suspicious, -etc.; meanwhile he offers for publication the overture which had been -performed at his concert, six bagatelles and three songs in behalf of -his brother to whom they belong, the price 130 ducats in gold. These -were the works which Probst had agreed to purchase for 100 ducats and -the money for which had been sent to Vienna. Schott agreed to buy them -for 130 ducats and Beethoven wrote to his brother in Gneixendorf on -December 24: "I inform you that Mayence will give 130 ducats in gold -for your works: if Herr Probst will not pay as much, give them to -Mayence, who will at once send you a cheque; these are really honest, -not mean, business men." Johann promptly put himself in communication -with Schott and Sons and graciously confirmed the sale of the works at -130 florins, "out of respect" for his brother. - -Peters, who had been informed of the state of affairs concerning the -Mass, evidently sent a complaint, or protest, to Beethoven, for on -December 12, 1824, the latter informs the publisher that the case -has been closed by his promise of the work to another publisher. He -(Peters) should have received a quartet had the publishers who took -the Mass not made the Quartet a condition of his acceptance. But he -should surely have another quartet soon, or he was ready to make him -a proposition for a larger work, in which case the sum which had been -paid might be deducted from the new fee. Let Peters but be patient and -he should be completely satisfied. Then follows this rebuke: - - You did wrong to _yourself_ and _to me_, and you are still doing - the latter in, as I hear, accusing me of having sent you _inferior_ - works. Did you not yourself ask for songs and bagatelles? Afterward - it occurred to you that the fee was too large and that a larger - work might have been had for it. That you showed yourself to be a - poor judge of art in this is proved by the fact that several of - these works have been and will be published, and such a thing never - happened to me before.[119] As soon as I can I will liquidate my - indebtedness to you, and meanwhile I remain, etc. - -In September of this year the interest of Beethoven's old friend -Andreas Streicher, whose wife was a visitor at Baden, seems to have -been awakened in a marked degree, and he gave himself to the devising -of plans to ameliorate the composer's financial position. He revived -the project for a complete edition of the compositions which, as he -outlines it, he thinks might yield a profit of 10,000 florins, good -money; proposes six high-class subscription concerts in the approaching -winter, which, with 600 subscribers, would yield 4,800 florins; finally -he suggests that manuscript copies of the Mass in D with pianoforte -or organ accompaniment be sold to a number of singing societies. -Though this project had in a measure been attempted in the case of -the Singverein of Berlin and achieved in that of the Caecilienverein -of Frankfort, Beethoven seems to have authorized Streicher to make an -effort in the direction proposed, for two copies of a letter evidently -written to be communicated to singing societies or representative -members have been found. In the letter Beethoven suggests that owing to -the cost of copying, etc., the price be 50 ducats--just as much as he -had asked of his royal subscribers for the full orchestral score. None -of the projects came to execution, though the first, which lay close -to Beethoven's heart, came up for attention at a later date. - -[Sidenote: PRAISE FOR ENGLAND AND THE ENGLISH] - -Towards the end of September, Johann Stumpff, a native of Thuringia but -a resident of London, was among the visitors at Baden who were admitted -to intimate association with Beethoven. This was another Stumpff, not -the one who came to Vienna in 1818 with a letter from Thomas Broadwood, -and who tuned the new English pianoforte. He was a manufacturer of -harps and an enthusiastic admirer of Beethoven's music. Anticipating -a meeting with the composer, he had provided himself with a letter of -introduction to Haslinger, whose help to that end he asked. He had -also gotten a letter from Streicher, whose acquaintance he had made -in London. He accomplished his end and wrote a long and enthusiastic -account of his intercourse with Beethoven at Baden, whither Haslinger -had accompanied him on his first visit.[120] He was received by -Beethoven with extraordinary cordiality. The composer accepted an -invitation to dinner, entertained his host at dinner in return, played -for him on his Broadwood pianoforte (after Stein, at Stumpff's request, -had restored its ruins), and at parting gave him a print of one of -his portraits and promised to alight at his house if ever he came to -London. Much of his conversation, which Stumpff records, is devoted to -a condemnation of the frivolity and bad musical taste of the Viennese, -and excessive laudation of everything English. "Beethoven," Stumpff -remarks, "had an exaggerated opinion of London and its highly cultured -inhabitants," and he quotes Beethoven as saying: "England stands high -in culture. In London everybody knows something and knows it well; but -the man of Vienna can only talk of eating and drinking, and sings and -pounds away at music of little significance or of his own making." He -spoke a great deal about sending his nephew to London to make a man of -him, asked questions about the cost of living there and, in short, gave -proof that an English visit was filling a large part of his thoughts. -The incidents of the conclusion of the dinner which he gave to Stumpff -may be told in the latter's words: - - Beethoven now produced the small bottle. It contained the precious - wine of Tokay with which he filled the two glasses to the brim. - "Now, my good German-Englishman, to your good health." We drained - the glasses, then, extending his hand, "A good journey to you - and to a meeting again in London." I beckoned to him to fill - the glasses again and hurriedly wrote in his notebook: "Now - for a pledge to the welfare of the greatest living composer, - Beethoven."--I arose from my chair, he followed my example, emptied - his glass and seizing my hand said: "To-day I am just what I am - and what I ought to be,--all unbuttoned." And now he unbosomed - himself on the subject of music which had been degraded and made a - plaything of vulgar and impudent passions. "True music," he said, - "found little recognition in this age of Rossini and his consorts." - Thereupon I took up the pencil and wrote in very distinct letters: - - "Whom do you consider the greatest composer that ever lived?" - - "Handel," was his instantaneous reply; "to him I bow the knee," and - he bent one knee to the floor. - - "Mozart," I wrote. - - "Mozart," he continued, "is good and admirable." - - "Yes," wrote I, "who was able to glorify even Handel with his - additional accompaniments to 'The Messiah'." - - "It would have lived without them," was his answer. - - I continued writing. "Seb. Bach." - - "Why is he dead?" - - I answered immediately "He will return to life again." - - "Yes, if he is studied, and for that there is now no time." - - I took the liberty of writing: "As you yourself, a peerless artist - in the art of music, exalt the merits of Handel so highly above - all, you must certainly own the scores of his principal works." - - "I? How should I, a poor devil, have gotten them? Yes, the scores - of 'The Messiah' and 'Alexander's Feast' went through my hands." - - If it is possible for a blind man to help a cripple, and the two - attain an end which would be impossible to either one unaided, why - might not in the present case a similar result be effected by a - similar cooperation? At that moment I made a secret vow: Beethoven, - you shall have the works for which your heart is longing if they - are anywhere to be found. - -Stumpff relates that Beethoven's brother, who came into the room during -his visit, seemed glad to greet him and begged him most amiably to call -on him, as he desired to talk with him about a number of things. In -saying farewell Beethoven accompanied him to the door and said: "That -is my brother--have nothing to do with him--he is not an honest man. -You will hear me accused of many wrong actions of which he has been -guilty." Stumpff returned to London on December 6. He fulfilled his vow -touching the gift of Handel's works two years later. - -On November 17, 1824, as the autograph attests, Beethoven wrote a -four-part canon on the words "Schwenke dich ohne Schwaenke," which he -sent to Schott and Sons for publication in the "Caecilia," where it -appeared in April, 1825. There the title is "Canon on one who was -called Schwenke." The person whose name has thus been perpetuated -was Carl Schwenke, son of Christian Friedrich Gottlieb Schwenke, -Director of Church Music and Cantor at the Johanneum in Hamburg. Of the -acquaintanceship between Beethoven and him, the canon is the only relic. - -In the latter part of the summer Beethoven accepted a commission from -Diabelli for "a Sonata in F for pianoforte, four hands." The project -seems to have originated with the publisher, who asked for such a -composition and specified the key in a letter dated August 7, 1824. -Beethoven waited a fortnight before replying and then agreed to compose -the work for a fee of 80 ducats in gold, although a sonata for four -hands was not in his line. He mentioned the composition and the fee -which he was to receive for it in the draft for a letter to Schlesinger -next year, but never wrote the work; nor have any certain traces of it -been found in the sketchbooks. - -[Sidenote: The Quartet in E-flat, Op. 127] - -There is only one other work which calls for attention as having -largely occupied Beethoven's mind this year. It is the Quartet for -Strings in E-flat, Op. 127. When Beethoven in January, 1823, accepted -the invitation of Prince Galitzin to write three quartets for him, he -had for some time been contemplating a return to the field which he had -cultivated so successfully but had permitted to lie fallow after the -completion of the quartet in F minor, Op. 95, in October, 1810. He had -held out a promise for speedy delivery of a quartet to Peters on June -5, 1822, but Peters declined the work in his next letter. Galitzin sent -the stipulated fee of 50 ducats promptly to his bankers in Vienna, but -subsequently yielded to Beethoven's request and permitted the money -to be applied to his subscription for the Mass. On March 10, 1824, -Beethoven offered "a new quartet" to Schott and Sons for 50 ducats -and the publishers promptly notified their acceptance of the offer to -him. Neate was informed by a letter dated March 19 that the Quartet -was finished; but, as usual, the word was used in a Pickwickian sense. -The correspondence with Schott and Sons sings the same tune with -respect to the Quartet that it does regarding Mass and Symphony. On -May 20 Beethoven cannot positively promise it; on July 3 he is sure -that the publishers will receive it in six weeks; on September 17 the -time of delivery is postponed to the middle of October; in November to -the beginning of December; and on December 17 he says there is still -something to be written on it. All the works which Schott and Sons have -bought are to be delivered at one time, yet when they receive the Mass -and Symphony on January 16, 1825, the Quartet is withheld but promised -in another week, and, after a month has passed, in still another -week. The Quartet is performed for the first time by Schuppanzigh on -March 6, 1825. At last Beethoven writes to Schott and Sons on May 7, -1825: "You will have received the Quartet by this time--it is the one -promised to you." In March, 1826, its publication is announced in the -"Caecilia." The autograph of the first movement is dated "1824" and no -doubt the bulk of the work upon it was done in the latter part of the -year, though it must have existed at least in a fragmentary form in -Beethoven's head when he wrote to Neate in March that it was finished. - -At the close of the year Beethoven's nephew Karl is still pursuing -his philological studies at the university and living with his uncle. -During the summer his holidays are spent in the country with Beethoven, -to whom he is the cause of no little anxiety, especially when towards -the end of the year he repeats his youthful escapade of running away -from home. Beethoven, thinking of his foster-child's welfare and -apparently made ill at ease by symptoms which made him apprehend that -he was likely to die suddenly of an apoplectic stroke ("like my good -grandfather, whom I resemble," he wrote), sent a letter to Dr. Bach -on August 1, begging him to draw up a formal will and reiterating his -intention to make his nephew inheritor of all his property. He also -directed: "As it is customary to make a bequest to relatives even if -they are in no wise related," that his French pianoforte be given to -his brother. "As regards Steiner, let him be content with the assurance -that he shall be paid in full by the end of September--for if anything -comes of the Mayence business it will not be before then and the first -600 florins must go to two of the noblest of mankind who, when I was -almost helpless, most kindly and disinterestedly came to my assistance -with this sum." No doubt the Brentanos were meant; Steiner had -evidently been dunning him for the old debt. - -About the beginning of November, Beethoven returned again to Vienna, -where he took up a new residence--probably at No. 969 Johannesgasse, a -house owned by a family named Kletschka. He did not remain there long, -however, as the other tenants complained of his pianoforte playing -and the disturbance caused by his quarrels with his nephew and the -housekeeper. He received notice to quit and removed, presumably, to -apartments in the second storey of a house in the Kruegerstrasse, now -known as No. 13. - -[Sidenote: AN ENGLISH VISIT AGAIN CONTEMPLATED] - -Thoughts of a visit to England had been revived early in the year by -a letter from Neate and, while the plans of the concert were making, -it had been determined, so far as it was possible to do so, that -the visit should be undertaken in the fall and that Schindler should -accompany him. This is the key to Schindler's forceful observation -after the financial fiasco of the concert. A second letter bearing on -the subject was written by Neate on December 20. Consideration of it -belongs in the next chapter. - -FOOTNOTES: - -[116] Beethoven's letters to Bernard were published by Alexander -Hajdecki in the February number, 1909, of "Nord und Sued"; Hajdecki -found the letters in the hands of a niece of one of Bernard's daughters -to whom he had bequeathed them. They are not included in the Kalischer -or Prelinger collections. - -[117] Frimmel, however, placing faith in a tradition to that effect, -says that the Decker drawing was made in the fall of 1825 in the -Schwarzspanier House. The print issued by the "Allgemeine Musikalische -Zeitung" could not be found by Dr. Deiters; but Thayer, (who spells -the name of the artist "Daker,") saw one in the hands of Prof. -Spatzenegger, a son-in-law of the artist, in Salzburg. - -[118] This could only have been the Quartet in E-flat, which, however, -was far from finished. - -[119] Only the Bagatelles, Op. 119, had been published when this was -written. - -[120] Stumpff's manuscript, which also covered the principal incidents -of a trip through Germany, after his death came into the possession of -his surviving partner, T. Martin, who permitted Thayer to transcribe -all of it relating to Beethoven. Many of his observations parallel -those made by Reichardt, Rochlitz, Schultz and other visitors, and -their repetition here would add nothing to the story of Beethoven's -life and manners; besides, the account is too long to be inserted in -full. The reader who wishes to read all of it is referred to the German -edition of Thayer's biography. Vol. V, page 122 _et seq._ - - - - -Chapter VII - - The Year 1825--The London Philharmonic Society again--Karl - Holz--The Early Biographies--Visits of Rellstab, Kuhlau, Smart and - Others--Stephan von Breuning--The A Minor Quartet, Op. 132. - - -The letter from Neate referred to at the conclusion of the last -chapter brought with it an invitation from the Philharmonic Society of -London which kept the thought of an English visit alive in Beethoven's -irresolute mind for a considerable space longer. Neate wrote in an -extremely cordial vein. He had long wished to see Beethoven in England, -he said, where he believed that his genius was appreciated more than -in any other country; and now he had received the pleasant charge from -the Philharmonic Society to invite him to come. He made no doubt but -that in a short time he would earn enough money richly to compensate -him for all the inconveniences of the journey. The Philharmonic Society -was disposed to give him 300 guineas for conducting at least one of -his works at each of the Society's concerts in the coming season, and -composing a new symphony which was to be produced during his visit -but to remain the composer's property. As an additional pecuniary -inducement he held out that Beethoven could give a concert of his own -at which he would make at least L500, besides which there were many -other avenues of profit open to him. If he were to bring along the -quartets of which he had written, they would yield him L100 more, and -he might therefore be sure of carrying back a large sum of money, -enough, indeed, to make all the remainder of his life much pleasanter -than the past had been. He told Beethoven that the new Symphony had -arrived and the first rehearsal of it set for January 17. He hoped that -Beethoven would be on hand to direct it at the first concert of the -Society and trusted that a report that a copy of it was in Paris was -not true. - -[Sidenote: PLANS FOR THE TRIP TO LONDON] - -Beethoven replied: He was delighted with the terms which the Society -offered, but would like to have 100 guineas more to pay for the -expenses of the trip, it being necessary that he buy a carriage for -the journey, and take a companion with him. He would bring a new -quartet. The rumor that there was a copy of the Symphony was not true; -it would, indeed, be published in Germany, but not before the year -was past during which it was to remain the society's property.[121] -He urged that separate string rehearsals be held and the choruses be -thoroughly studied above all, and directions for the _reprise_ in the -second movement, the marks for which had been forgotten in the copy. -An early reply was asked, as he had been requested to write a large -work upon which he did not wish to begin before receiving an answer, -for while he did not write in the hope of gaining a fortune it was -necessary that he have assurance that he would earn a living. To this -letter Neate replied on February 1. He had conveyed the contents of -Beethoven's letter to the directors of the Philharmonic Society and had -now regretfully to report that they had declined to make any change -in their offer. He was personally willing to give the advance asked, -but the individual directors were not masters of their conduct in all -things; they had to abide by the laws of the Society. He hoped that -under the circumstances Beethoven would come; he was sure the trip -would pay him, and the directors would impatiently await his presence -at the second concert, it being already too late for the first. There -was to be another rehearsal of the Symphony that evening. - -Again Beethoven had to struggle with the question as to whether or -not he should make the journey to London. He was strongly urged to go -by his desire to earn a large sum of money. His friends pressed him -with arguments in favor of the trip. Karl admonished him to make up -his mind without giving heed to his insatiably sordid brother, but -reminded him that Neate had assured him he would make enough money to -be free of care for the rest of his life. Johann did not talk of the -financial advantage alone but said that he would benefit physically, -travel being good for the health. Apparently answering an objection of -Beethoven's on the score of his age, Karl reminded him that Haydn also -went to London when he was fifty years old and he was "not so famous." -Schuppanzigh bursts out with his brusque third person singular: "I wish -he would pluck up enough courage to make the trip; he would not regret -it." Who should accompany him? Schindler had been recommended by Neate, -but his name does not occur in these conversations; instead, there -is talk of Schuppanzigh and young Streicher. But as it turned out, no -one was to accompany him, nobody alight with him either at the house -of Stumpff or the Hotel de la Sabloniere in Leicester Square which -Neate had recommended as a French house much visited by foreigners. His -doubts, suspicions, fears for his health, anxiety about his nephew, -his fatal indecision, prevailed;--he would make the visit some other -time--perhaps in the fall, as he wrote to Neate. Meanwhile would Neate -aid him in the matter of the quartets? He had finished one and was -at work on a second, which would be completed soon. Then he wrote -again--on May 25; he was satisfied with the offer of L100 for the three -quartets, was Neate agreed to his plan of sending them to a banker -to be delivered on payment of the fee? If so he would send the first -quartet at once and the fee might be paid after he had given notice of -the completion of the other two. - -[Sidenote: THE NINTH SYMPHONY AT AIX-LA-CHAPELLE] - -The absence of Ries's name in these negotiations is explained by the -fact that he was no longer in London. He had purchased an estate in -Godesberg, near Bonn, and removed thither in 1824. He had invited -Beethoven to be his guest there and it would seem that he was advised -about the English situation. At least in a letter, presumably written -early in 1825, Beethoven deems it incumbent to inform Ries that the -present efforts to dispose of the Ninth Symphony were tentative and -that the period during which the Philharmonic Society was to hold the -work would be scrupulously respected. It had never been sent to Bremen -or to Paris as had been reported. The occasion for this letter was one -from Ries requesting metronome marks for "Christus am Oelberg," and for -the score of the Ninth Symphony for the approaching Lower Rhenish Music -Festival, which he had been engaged to conduct. These _Niederrheinische -Musikfeste_ had come into existence in 1817. The seventh meeting was -to be held at Aix-la-Chapelle. Reports of the Vienna performance had -been spread and it was desired to make the Symphony a feature of -the festival scheme. In January, Schott and Sons were asked if the -score would be in print by May and replied in the negative. Thereupon -Ries was asked to write to Beethoven for a manuscript copy. Ries -did not favor the production of the Symphony[122] but wrote for the -music nevertheless, and Beethoven sent him the score of the purely -instrumental movements and the parts of the finale. This was about -March 12; a week later, on March 19 (two days, by the way, before the -first performance in London), he sent the chorusmaster's score of the -finale and suggested that the instrumental score might be written out -and appended. In the earlier letter in which Beethoven had promised -to send the Symphony and in which he enclosed the metronome marks for -the "Christus am Oelberg," Beethoven offered to send also the Mass in -D, an overture which he had written "for the Philharmonic Society," -and some smaller things for orchestra and chorus, which would enable -the festival managers to give two or three concerts instead of one. He -suggested that 40 Carolines would, perhaps, not be too much as a fee. -Beethoven explained to Ries that he had only one copy of the score of -the Ninth Symphony, and as there was a concert in prospect he could -not send it; so Ries had a score made of the finale for the festival -performance. Beethoven had also sent the "Opferlied," the Overture in -C (Op. 115, of course), the _Kyrie_ and _Gloria_ of the Mass and an -Italian duet. He was still to send a grand march and chorus (from "The -Ruins of Athens"), and might add an overture which was as yet unknown -outside of Vienna, but thought he had sent enough. The Symphony and -"Christus am Oelberg" were performed on the second day of the festival. -The time was too short for the difficult music thoroughly to be learned -and at the performance portions of the slow movement and Scherzo of -the Symphony were "regretfully" omitted. There were 422 performers -in chorus and orchestra, and the popular reception of the music was -enthusiastic enough to enable Ries to report to Beethoven that the -performance had been a success; and he sent him 40 Louis d'ors as a -fee. Ries recognized the symphony as a work without a fellow and told -Beethoven that had he written nothing else it would have made him -immortal. "Whither will you yet lead us?" he asked. Very naturally, -Beethoven had reported the negotiations touching a visit to England -to Ries, who expressed his satisfaction that he had not accepted the -engagement and added: "If you want to go there you must make thorough -preparations. Rossini got L2500 from the Opera alone. If Englishmen -want to do an extraordinary thing, they must all get together so as to -make it worth while. There will be no lack of applause and marks of -honor, but you have probably had enough of these all your life." - -[Sidenote: A JOKE ON HASLINGER MISCARRIES] - -Mass and symphony had been delivered to Fries, the banker, on January -16, to be forwarded to Schott and Sons. Beethoven informed the firm by -letter and took occasion to deny the report that it had been printed -elsewhere. However, he does not seem to be entirely at ease in the -matter. "Schlesinger is not to be trusted, for he takes where he can; -both _Pere et fils_ bombarded me for the Mass, etc., but I did not -deign to answer either of them, since after thinking them over I had -cast them out long before."[123] He asks their attention to his plan -for a complete edition of his works, which he would like to prepare and -take a lump sum as an honorarium. He sends two canons for publication -in the journal "Caecilia," and attempted a joke on his friend Haslinger -which exercised his mind not a little during the next month or two. -This was a skit purporting to be an outline or draft for an article -on Haslinger's career. The Schotts, either not understanding the -joke or desiring to injure a rival who had spoken ill of them to -Beethoven, printed the communication together with the two canons as -if they belonged together. Beethoven either felt or affected to feel -great anger at the proceeding; he sent a letter to the publishers and -demanded its publication without change or curtailment. In this he -rebuked them for printing what was intended as a pleasantry but might -easily be construed as an intentional insult. He had not destined it -for publication, and it was contrary to his nature intentionally to -give offence to anybody. He had never resented anything that had been -said about him as an artist, but he felt differently about things -which affected him as a man. Haslinger was a respected old friend and -he had thought to heighten the effect of the joke by suggesting that -his consent to the publication be obtained. The printing was an abuse -of the privileges of private correspondence, especially as the canons -printed,[124] being set forth as a supplement to the skit, thereby -became inexplicably incongruous. He would have a care that such a thing -should not occur again. Whether or not the communication was ever -printed does not appear; neither does it appear that Beethoven took -the matter so greatly to heart as his letter was calculated to make -the public believe, had it been printed. In August he wrote to his new -friend Karl Holz: "I hear with amazement that the Mayence street-boys -really abused a joke! It is contemptible; I assure you it was not -at all my intention. What I meant was to have Castelli write a poem -on these lines under the name of the musical Tobias, which I would -set to music. But since it has so happened, it must be accepted as a -dispensation from heaven. It will form a companion-piece to Goethe's -Bardt _sans comparaison_ with all other authors. But I believe Tobias -has wronged you a little, etc.,--_Voila_ it is better to be revenged -than to fall into the maw of a monster.[125] I can't shed tears over it -but must laugh like--." To his nephew he wrote: "It was not right for -Mayence to do a thing like that, but as it is done it will do no harm. -The times demand strong men to castigate these petty, tricky, miserable -little fellows"; and then, as if repenting him of the sounding phrase, -he wrote in the margin: "much as my heart rebels against doing a man -harm; besides it was only a joke and I never thought of having it -printed." It would seem that Haslinger must have known of the skit -before it was sent to Schott, for in a letter of February 5, Beethoven -suggested to the firm, as a joke, to ask Haslinger for the "romantic -biography" which Beethoven had written of him, and added: "That is the -way to handle this fellow, a heartless Viennese, who is the one who -advised me not to deal with you. _Silentium!_" And he describes Steiner -as a "rascally fellow and skinflint," and Haslinger as a "weakling" -whom he made useful to himself in some things. Haslinger may have -felt incensed at the publication, but he eventually accepted it in an -amiable spirit and it did not lead to any rupture of friendship between -the men. - -An amusing illustration of how Beethoven could work himself into a rage -even when alone is preserved at the Beethoven Museum in Bonn, in the -shape of some extraordinary glosses on a letter from a copyist named -Wolanek, who was in his employ in the spring of the year. Wolanek was a -Bohemian. Beethoven had railed against him whenever sending corrections -to a publisher or apologizing for delays, and it is not difficult to -imagine what the poor fellow had to endure from the composer's voluble -tongue and fecund imagination in the invention and application of -epithets. In delivering some manuscripts by messenger some time before -Easter, Wolanek ventured a defense of his dignity in a letter which, -though couched in polite phrase, was nevertheless decidedly ironical -and cutting. He said that he was inclined to overlook Beethoven's -conduct towards him with a smile; since there were so many dissonances -in the ideal world of tones, why not also in the world of reality? -For him there was comfort in the reflection that if Beethoven had -been copyist to "those celebrated artists, Mozart and Haydn," he -would have received similar treatment. He requested that he be not -associated with those wretches of copyists who were willing to be -treated as slaves simply for the sake of a livelihood, and concluded -by saying that nothing that he had done would cause him to blush in -the slightest degree in the presence of Beethoven. It did not suffice -Beethoven to dismiss the man from his employ; such an outcome seemed -anticipated in the letter. He must make him feel that his incompetency -was wholly to blame and realize how contemptible he looked in the eyes -of the composer. The reference to Mozart and Haydn was particularly -galling. Beethoven read the letter and drew lines across its face from -corner to corner. Then in letters two inches long he scrawled over -the writing the words: "_Dummer, Eingebildeter, Eselhafter Kerl_" -("Stupid, Conceited, Asinine Fellow"). That was not enough. There was -a wide margin at the bottom of the sheet, just large enough to hold -Beethoven's next ebullition: "Compliments for such a good-for-nothing, -who pilfers one's money?--better to pull his asinine ears!" Then -he turned the sheet over. A whole page invited him--and he filled -it, margins and all. "Dirty Scribbler! Stupid Fellow! Correct the -blunders which you have made in your ignorance, insolence, conceit and -stupidity--this would be more to the purpose than to try to teach me, -which is as if a _Sow_ were to try to give lessons to Minerva!" "Do YOU -do honor to Mozart and Haidn by never mentioning their names." "It was -decided yesterday and even before then _not to have you write any more_ -for me." - -[Sidenote: FIRST PERFORMANCES OF THE E-FLAT QUARTET] - -The E-flat Quartet was now finished and about to be performed by -Schuppanzigh and his companions. Beethoven was greatly concerned about -the outcome and, as if at once to encourage and admonish them, he -drafted a document in which all pledged themselves to do their best -and sent it to them for signature. They obeyed, Linke adding to his -name the words: "The Grand Master's accursed violoncello." and Holz: -"The last--but only in signing." The performance took place on March -6, and the result was disappointing. The music was not understood -either by the players or the public and was all but ineffective. -Schuppanzigh was held responsible and his patience must have been -severely taxed by Beethoven's upbraidings and his determination to -have an immediate repetition by other players. Schuppanzigh defended -himself as vigorously as possible and was particularly vexed because -Beethoven cited his brother's opinion of the performance--that of a -musical ignoramus. He wanted to play the Quartet a second time, but -told Beethoven that he had no objections to the work being handed over -to Boehm; yet he protested with no little energy, that the fault of the -fiasco was not his individually, as Beethoven had been told. He could -easily master the technical difficulties, but it was hard to arrive at -the spirit of the work: the _ensemble_ was faulty, because of this fact -and too few rehearsals. Beethoven decided that the next hearing should -be had from Boehm, and though Schuppanzigh had acquiesced, he harbored -a grievance against the composer for some time. Boehm had been leader -of the quartet concerts in Vienna during Schuppanzigh's long absence. -He has left an account of the incident, in which he plainly says that -Schuppanzigh's attitude toward the work was not sympathetic and that -he had wearied of the rehearsals, wherefore at the performance it made -but a _succes d'estime_. Beethoven sent for him (Boehm) and curtly said: -"You must play my Quartet"--and the business was settled; objections, -questionings, doubts were of no avail against Beethoven's will. The -Quartet was newly studied under Beethoven's own eyes, a circumstance -which added to the severity of the rehearsals, for, though he could not -hear a tone, Beethoven watched the players keenly and detected even the -slightest variation in tempo or rhythm from the movement of the bows. -Boehm tells a story in illustration of this: - - At the close of the last movement of the quartet there occurred - a _meno vivace_,[126] which seemed to me to weaken the general - effect. At the rehearsal, therefore, I advised that the original - tempo be maintained, which was done, to the betterment of the - effect. Beethoven, crouched in a corner, heard nothing, but watched - with strained attention. After the last stroke of the bows he said, - laconically "Let it remain so," went to the desks and crossed out - the _meno vivace_ in the four parts. - -The Quartet was played twice by Boehm and his fellows at a morning -concert in a coffee-house in the Prater, late in March or early in -April, and was enthusiastically received. Steiner, who had attended -one or more of the rehearsals, was particularly enraptured by it and -at once offered to buy it for publication for 60 ducats--a fact which -Beethoven did not fail to report to Schott and Sons when he sent the -manuscript to them. Subsequently Mayseder also played it at a private -concert in the house of Dembscher, an official or agent of the war -department of the Austrian Government, and this performance Holz -described as a _reparation d'honneur_. Beethoven was now completely -satisfied and, no doubt, went to work on its successor with a contented -mind. - -[Sidenote: KARL HOLZ SUPPLANTS SCHINDLER] - -It is now become necessary to pay attention to the new friend of -Beethoven whose name has been mentioned--the successor of Schindler, -as he had been of Oliva, in the office of factotum in ordinary. This -was Karl Holz, a young man (he was born in 1798) who occupied a post -in the States' Chancellary of Lower Austria. He had studied music with -Gloeggl in Linz and was so capable a violinist that, on Schuppanzigh's -return from Russia in 1823, he became second in the latter's quartet. -He seems to have come into closer contact with Beethoven early in the -spring of 1825, probably when, having to conduct a performance of the -B-flat Symphony at a concert in the Ridotto Room, he asked an audience -of the composer in order that he might get the _tempi_ for that work. -Though not a professional musician, he gave music lessons, later -occasionally conducted the _Concerts spirituels_ and eventually became -the regular director of these affairs. Emboldened by the kindness -with which he was first received he gradually drew nearer to the -composer and in August, 1825, an intimate friendship seems imminent, -as is indicated by Beethoven's remark in a letter to his nephew: "It -seems as if Holz might become a friend." He was good at figures, a -quality which made him particularly serviceable to Beethoven (who was -woefully deficient in arithmetic)[127] at a time when he was dealing -with foreign publishers and there was great confusion in money values -and rates of exchange. He was also a well-read man, a clever talker, -musically cultured, a cheery companion, and altogether an engaging -person. All these qualities, no less than the fact that he was strong -and independent in his convictions and fearless in his proclamation -of them, recommended him to Beethoven, and he does not seem to have -hesitated to take advantage of the fact that he entered the inner -circle of Beethoven's companions at a time when the composer had begun -to feel a growing antipathy to Schindler. He promptly embraced the -opportunity which his willing usefulness brought him, to draw close to -the great man, to learn of him and also to exhibit himself to the world -as his confidential friend. He was not obsequious, and this pleased -Beethoven despite the fact that he himself was not indisposed to play -upon his friends for his own purposes "like instruments," as he himself -once confessed. In a short time Holz made himself indispensable and -acquired great influence over the composer. He aided him in the copying -of his works, looked into the affairs of Nephew Karl and reported upon -them, advised him in his correspondence, and directed his finances at -a time when he was more than ordinarily desirous to acquire money so -that he might leave a competency on his death to his foster-son. In -time Beethoven came to entrust weighty matters to his decision, even -the choice of publishers and his dealings with them. His prepossessing -address, heightened by his independence of speech, made it less easy -to contradict him than Schindler. Moreover, the recorded conversations -show that he was witty, that he had a wider outlook on affairs than -Beethoven's other musical advisers, that his judgments were quickly -reached and unhesitatingly pronounced. His speeches are not free from -frivolity nor always from flattery, but he lived at a time and among -a people accustomed to extravagant compliments and there can be no -doubt of his reverence for Beethoven's genius. Beethoven could endure -a monstrous deal of lip-service, as all his friends knew, and surely -took no offence when Holz said to him: "I am no flatterer, but I assure -you that the mere thought of Beethovenian music makes me glad, first of -all, that I am alive!" - -We owe much of our knowledge of the relations between Beethoven and -Holz to Schindler's statements as they appear in his biography,[128] -two articles which appeared in the "Koelnische Zeitung" in 1845, and -among the glosses on the Conversation Book. But many of his utterances -show ill-feeling, which it is not unfair to trace to a jealousy dating -back to the time when Holz crowded Beethoven's "Secretary _sans_ -salary" out of Beethoven's service and good graces. There was no open -rupture between Beethoven and Schindler, but a feeling of coolness and -indifference which grew with the advancement of the younger man in the -favor of the composer. There is considerably more to be read between -Schindler's lines than on their surface, and because of their personal -equation they ought to be received with caution. True, he does not deny -that Holz was possessed of excellent artistic capacities, that he was -well educated and entirely respectable as a man. He describes him as a -prime specimen of the Viennese "Phaeacians" of whom Beethoven was wont -to speak with supreme contempt; and there is ample evidence that Holz -was indeed given to the pleasures which Beethoven attributed to the -denizens of Scheria. But the results of Beethoven's fellowship with a -cheery companion were certainly not so great as Schindler says, nor so -evil and grievous as he intimates. His earlier insinuation, that in -order to exhibit his influence to the public Holz led Beethoven into -company and practices which he would otherwise have avoided, among -them to the frequenting of taverns and to excessive wine-bibbing, were -subsequently developed into an accusation that Holz had spread a -report that the composer had contracted dropsy from vinous indulgence. -Beethoven was accustomed to drink wine from youth up, and also to -the companionship which he found in the inns and coffee houses of -Vienna, which are not to be confounded with the groggeries with which -straitlaced Americans and Englishmen are prone to associate the words. -It was, moreover, undoubtedly a charitable act to drag him out of his -isolation into cheerful company. We know that he was so accustomed to -take wine at his meals that his physicians found it difficult to make -him obey their prohibition of wine and heating spices when he was ill; -but that he was more given to wine-drinking in 1825 and 1826 than at -any other period, we learn only from Schindler, whose credibility as -a witness on this point is impeached by the fact that, as he himself -confesses, he seldom saw Beethoven between March 1825 and August 1826. -Nor is it true, as Schindler asserts, that Beethoven's habits now -cost him the loss of old friendships. On the contrary, it was in this -period that the cordial relations between him and Stephan von Breuning, -which had been interrupted many years before, were restored and became -peculiarly warm. Czerny told Jahn that Beethoven's hypochondria led to -many estrangements; but when he was ill, Count Lichnowsky, Haslinger -and Piringer were visitors at his bedside, and not even Schindler -seems to have been able to name a man whose sympathy the composer had -sacrificed. His life was solitary; but not more than it had been for -years.[129] In Gerhard von Breuning's recollections, as recorded in -"Aus dem Schwarzspanierhause," there is scarcely a mention of Holz and -none at all of the dangers into which Beethoven is alleged to have been -led by him. - -Beethoven's letters bear witness to the fond regard in which he held -him. His name, which in German signifies wood and in the literature -of the church also cross, provided Beethoven with a welcome chance to -indulge his extravagant fondness for punning. Thus in the composer's -jovial address-book, not distinguished by reverence for anything sacred -or profane, Holz becomes "Best Mahoghany," "Best Splinter from the -Cross of Christ," "Best _lignum crucis_." The tone of the letters is -always respectful, and once he begs his friend to forget an undescribed -happening. Holz had his entire confidence, and when the great -catastrophe of 1826 came, Holz was the strongest prop upon which he -leaned. Schindler says that Beethoven was godfather to Holz's child, -but that is plainly an error; Holz was married in the early winter of -1826, only three or four months before Beethoven's death. The extent to -which he had won Beethoven's confidence and Beethoven's high opinion of -his character and ability are attested by the following document, which -was signed only a short time after the intimacy began: - -[Sidenote: HOLZ AUTHORIZED TO WRITE A BIOGRAPHY] - - With pleasure I give my friend, Karl Holz, the assurance which - has been asked of me, that I consider him competent to write my - eventual biography, assuming that such a thing should be desired, - and I repose in him the fullest confidence that he will give to the - world without distortion all that I have communicated to him for - this purpose. - - Vienna, August 30, 1826. - - Ludwig van Beethoven. - -There can be no question as to the sincerity of the desire which finds -utterance in this declaration. It was made in the midst of a period -when Holz was of incalculable service to him, and he had every reason -to believe that Holz had both the ability and the disposition to write -the truthful, unvarnished account of his life which he wanted the world -to have. Schindler says that he subsequently changed his mind, said -that the document was the result of a surprise sprung upon him in the -confusion of occurrences, and asked von Breuning to request Holz to -return it. Breuning declined to do so, says Schindler, and Beethoven, -not having courage himself to make the request, contented himself with -doubting the validity of a paper which was written only in pencil. -On his deathbed, Schindler continues,[130] Beethoven, in answer to a -question directly put to him by Breuning, unhesitatingly declared that -Rochlitz was his choice as biographer; and at a later date, realizing -that death was approaching, he requested Breuning and Schindler to -gather up his papers, make such use of them as could be done in strict -truth, and to write to Rochlitz. Two months after Beethoven had passed -away Breuning followed him, and Schindler was left alone to fulfil the -composer's wish. He wrote to Rochlitz, who regretfully declined the -pious task on the ground that the state of his health did not permit -him to undertake so large a work. Thereupon Schindler let the matter -rest, waiting for time and circumstances to determine the course which -he should follow. - -Stephan von Breuning had informed his brother-in-law, Dr. Wegeler, of -Beethoven's charge with reference to the papers, and Wegeler had sent -Schindler notes on Beethoven's boyhood years and his life in Bonn. -In 1833 Schindler visited Wegeler in Coblenz and consulted with him -about the biography which, as Wegeler knew, Rochlitz had been asked, -but declined, to write. Wegeler thereupon suggested that Schindler, -he and Ferdinand Ries collaborate in the writing. Ries was consulted -and agreed, but work had scarcely been begun before differences arose -between Schindler and Ries as to the propriety of giving to the world -matters which Schindler (who insisted that Ries was paying a grudge -which he owed his erstwhile teacher) thought of no interest or too -offensive for publication. Ries contended that to tell the whole truth -about great men was right and could do them no injury. Schindler says -he then persuaded Wegeler to continue the collaboration without Ries, -but, delays resulting from correspondence with persons in Vienna, -Wegeler became impatient and in October, 1844,[131] announced that his -notes were about to be published. They did not appear, however, and -Schindler tried again to work in company with Ries; but the latter -persisted in his purpose, and the project fell through a second time. -This was in 1837, and the next year, shortly after Ries's sudden -death, appeared the "Biographische Notizen ueber Ludwig van Beethoven" -by Wegeler and Ries. In the remarks with which the men prefaced their -reminiscences there is no reference to the projected collaboration -described by Schindler, nor can it truthfully be said that anything in -Ries's observations bears out Schindler's charge that he felt a grudge -against Beethoven and sought to feed it by telling unpleasant truths -about him. - -To continue the story of these early biographies: Schindler now -asked counsel of Dr. Bach, who advised him to betake himself to the -task of writing the life of Beethoven alone. He did so, and his book -appeared in 1840. Holz never made use of the _imprimatur_ which he -had received from Beethoven, but in 1843 formally relinquished his -authorization to Dr. Gassner, of Carlsruhe, promising to deliver all -the material which he held into his hands and to use his influence in -the procurement of dates from authentic sources, "so that the errors -in the faulty biographies which have appeared up to the present time -may be corrected." That this was a fling at Schindler's book is evident -from a document[132] in which, on November 1, 1845, Holz, at that time -director of the _Concerts spirituels_ in Vienna, declares that the -forthcoming biography (by Gassner) would "not derive its dates from -_fictitious_ or _stolen_ conversation books, and _unsophisticated_ -evidence will also give more intimate information about Mr. -Schindler." Twice did Schindler attack Holz in the "Koelnische Zeitung" -in 1845 and once, it would appear, Holz answered him, but anonymously. -The subject need not be continued here, however; it has a bearing only -on the credibility of the two men in the discussion of each other. -Gassner's biography never appeared. - -Perhaps it was characteristic of Beethoven, and also of the friends who -came to his help in need, that though Schindler had been written down -in his bad books before Holz established himself in his confidence, -and though there was never a serious estrangement between Beethoven -and Holz, it was Schindler upon whom Beethoven leaned most strongly -for help when the days of physical dissolution arrived--Schindler, not -Holz. The latter's devotion had either undergone a cooling process or -been interfered with by his newly assumed domestic obligations. But -Schindler's statement that he was "dismissed" in December, 1826, is an -exaggeration, to say the least; Beethoven wrote him a letter a month -before he died, asking his help in collecting money from the Archduke. -Holz died on November 9, 1858. He had been helpful to Otto Jahn when -the latter was gathering material for a life of Beethoven.[133] - -[Sidenote: STRICT PHYSICIANS AND AN UNRULY PATIENT] - -The E-flat Quartet had been successfully brought forward, a pause had -been reached in the correspondence with Schott and Sons and Neate, a -summer home for Beethoven was in prospect, and considerable progress -had been made in the draft for a new quartet designed for Prince -Galitzin, when an illness befell Beethoven which kept him within -doors, and for a portion of the time in bed, from about the middle of -April to the beginning of May, 1825. Beethoven had been told by his -physician that he was in danger of an inflammation of the bowels, and -as such Beethoven described his ailment in letters to his brother and -to Schott and Sons. Dr. Staudenheimer had been in attendance on him -before and had insisted upon strict obedience to his prescriptions. -Beethoven now called in Dr. Braunhofer, who proved to be even less -considerate of the patient's wilfulness; he was so blunt and forceful -in his demands for obedience that Beethoven was somewhat awed, and -beneficial results followed. Were it possible for the readers of these -pages who are curious on such subjects to consult the Conversation -Books of this period, they would there find interesting information as -to diagnosis and treatment in the case of the distinguished patient. -Dr. Braunhofer did not want to "torment" Beethoven long with medicines, -but he gave orders for a strict diet. "No wine; no coffee; no spices of -any kind. I'll arrange matters with the cook."--"Patience, a sickness -does not disappear in a day." "I shall not trouble you much longer -with medicine, but you must adhere to the diet; you'll not starve on -it." "You must do some work in the daytime so that you can sleep at -night. If you want to get entirely well and live a long time, you must -live according to nature. You are very liable to inflammatory attacks -and were close to a severe attack of inflammation of the bowels; the -predisposition is still in your body. I'll wager that if you take -a drink of spirits you'll be lying weak and exhausted on your back -inside of an hour." The doctor inspired him with courage and hope, and -admonished him to keep quiet and be patient. In dry weather he was to -take walks, but even after going to Baden he must take no baths so long -as the weather remained damp and symptoms of his illness remained. - -Beethoven went to Baden early in May and probably within a week of his -arrival he reported his condition to Dr. Braunhofer in a semi-humorous -manner by writing down a dialogue between doctor and patient in which -the latter suggests desired changes in his treatment. He asks for -something strengthening to help him get to his desk, thinks that he -might be permitted to drink white wine and water, as the "mephitic -beer" revolts him; he is still very weak, expectorates blood freely -"probably from the bronchial tubes," etc. The physician had asked for -a few notes written by his own hand as a souvenir. Beethoven complies -with the request by sending him a canon written while taking a walk -on May 11. It looks like a sign of mingled apprehension and returning -spirits: - -[Illustration: - - Doktor sperrt das Thor dem Tod, Note hilft auch aus der Noth. - Close the door 'gainst Death, I plead, Doctor, notes will help in - need. -] - -On May 17, he reports to his nephew that he is beginning to do -considerable work. - -[Sidenote: LUDWIG RELLSTAB VISITS BEETHOVEN] - -It was while Beethoven was ill in Vienna that Ludwig Rellstab made -several visits to him, of which he has left enthusiastic reports.[134] -He was 26 years old at the time and had made a mark as essayist and -poet; the chief object of his journey to Vienna from Berlin, on -which he set out on March 21, was to see the composer. He reached -the Austrian capital in the last days of March or the first days of -April. His account of the meeting is like many others except that -it is written with literary elegance, albeit with that excessive -fervor, that _Ueberschwaenglichkeit_, which is characteristic of German -hero-worshippers. Zelter had given him a letter of introduction and -had written that Rellstab wanted to write the libretto of an opera to -be set by the composer, and this was the first subject broached after -Beethoven had warmly greeted his visitor and expressed delight with -Zelter's letter. Beethoven is pleased at the prospect of getting an -opera-book from Rellstab: - - It is so difficult to get a good poem. Grillparzer promised me - one. He has already made one for me but we can not come to an - understanding with each other. I want one thing, he wants another. - You'll have trouble with me!... I care little what genre the works - belong to, so the material be attractive to me. But it must be - something which I can take up with sincerity and love. I could not - compose operas like "Don Juan" and "Figaro." They are repugnant to - me. I could not have chosen such subjects; they are too frivolous - for me! - -Rellstab had had it in mind to write an opera-book for Weber and -had pondered over many subjects, and he now gave a list of these to -Beethoven--"Attila," "Antigone," "Belisarius," "Orestes" and others. -Beethoven read the names thoughtfully and then apologized for the -trouble he was causing his visitor. Rellstab, seeing an expression -of weariness in his face, took his departure, after saying that he -would send him a specimen of his handiwork. In a Conversation Book -used in the middle of April there is further talk between Rellstab and -Beethoven about opera, but the notes, which are fragmentary, give no -indications of Beethoven's views. The most interesting incident of the -meetings occurred at a subsequent visit. Rellstab had told that he had -been deeply moved (he dared not express a more specific opinion on the -subject, being in doubt himself) by the Quartet in E-flat, which he had -heard performed twice in succession.[135] He continues: - - Beethoven read and remained silent; we looked at each other mutely, - but a world of emotions surged in my breast. Beethoven, too, - was unmistakably moved. He arose and went to the window, where - he remained standing beside the pianoforte. To see him so near - the instrument gave me an idea which I had never before dared to - harbor. If he--Oh! he needed only to turn half way around and he - would be facing the keyboard--if he would but sit down and give - expression to his feelings in tones! Filled with a timid, blissful - hope, I approached him and laid my hand upon the instrument. It - was an English pianoforte by Broadwood. I struck a chord lightly - with my right hand in order to induce Beethoven to turn around; - but he seemed not to have heard it. A few moments later, however, - he turned to me, and, seeing my eyes fixed upon the instrument he - said: "That is a beautiful pianoforte! I got it as a present from - London. Look at these names." He pointed to the cross-beam over - the keyboard. There I saw several names which I had not before - noticed--Moscheles, Kalkbrenner, Cramer, Clementi, Broadwood - himself.... "That is a beautiful gift," said Beethoven looking at - me, "and it has such a beautiful tone," he continued and moved his - hands towards the keys without taking his eyes off me. He gently - struck a chord. Never again will one enter my soul so poignant, - so heartbreaking as that one was! He struck C major with the - right hand and B as a bass in the left, and continued his gaze - uninterruptedly on me, repeated the false chord several times in - order to let the sweet tone of the instrument reverberate; and the - greatest musician on earth did not hear the dissonance! Whether or - not Beethoven noticed his mistake I do not know; but when he turned - his head from me to the instrument he played a few chords correctly - and then stopped. That was all that I heard from him directly. - -Rellstab had planned a short excursion to Hungary and then intended to -leave Vienna for his home. Fearful that he might not see Beethoven on -his return to the city he went to him to say farewell: - - Beethoven spoke very frankly and with feeling. I expressed - my regret that in all the time of my sojourn in Vienna I had - heard, except one of his symphonies and a quartet, not a single - composition of his in concert; why had "Fidelio" not been given? - This gave him an opportunity to express himself on the subject of - the taste of the Vienna people. "Since the Italians (Barbaja) have - gotten such a strong foothold here the best has been crowded out. - For the nobility, the chief thing at the theatre is the ballet. - Nothing can be said about their appreciation of art; they have - sense only for horses and dancers. We have always had this state - of things. But this gives me no concern; I want only to write that - which gives me joy. If I were well it would be all the same to me!" - -On his departure Beethoven, who had been absent from his lodgings when -Rellstab called for his final leavetaking, sent him a letter to Steiner -and Co., containing a canon on the words from Matthison's "Opferlied" -of which he had made use on at least one earlier occasion ("Das Schoene -zu dem Guten"). - -[Sidenote: AN UTTERANCE ON ECCLESIASTICAL MUSIC] - -Karl Gottfried Freudenberg, a young musician who afterwards became -Head Organist at Breslau and wrote a book of reminiscences entitled -"Erinnerungen eines alten Organisten," visited Beethoven in July of the -year and has left a record which is none the less interesting because -its lack of literary flourish is offset by succinct reports of the -great composer's estimate of some of his contemporaries, and his views -on ecclesiastical music. Beethoven, according to Freudenberg, described -Rossini as a "talented and a melodious composer; his music suits the -frivolous and sensuous spirit of the time, and his productivity is -such that he needs only as many weeks as the Germans do years to -write an opera." He said of Spontini: "There is much good in him; -he understands theatrical effects and the musical noises of warfare -thoroughly"; of Spohr: "He is too rich in dissonances, pleasure in his -music is marred by his chromatic melody"; of Bach: "His name ought not -to be Bach (brook) but Ocean, because of his infinite and inexhaustible -wealth of combinations and harmonies. He was the ideal of an organist." -This led Beethoven into the subject of music for the church. "I, too, -played the organ a great deal in my youth," he said, "but my nerves -could not stand the power of the gigantic instrument. I place an -organist who is master of his instrument, first among virtuosi." Pure -church music, he remarked, ought to be performed only by voices, unless -the text be a _Gloria_ or something of the kind. For this reason he -preferred Palestrina to all other composers of church music, but it -was folly to imitate him unless one had his genius and his religious -beliefs; moreover, it was practically impossible for singers to-day to -sing the long-sustained notes of this music in a cantabile manner. - -Karl August Reichardt, afterwards Court Organist in Altenburg, S. -M. de Boer, a member of the Academy of Fine Arts in Amsterdam, Carl -Czerny, Friedrich Kuhlau, Sir George Smart and Moritz Schlesinger were -among the visitors to Baden in the summer to whose meetings with the -composer the Conversation Books bear always interesting and sometimes -diverting witness. Reichardt's visit seems to have been brief, and it -is safe to presume that the young man received scant encouragement to -remain long, for his talk was chiefly about himself, his desire to get -advice as to a good teacher and to have Beethoven look at some of his -music. The man from Holland, who probably had used his predicate as a -member of the Academy which had elected Beethoven an honorary member -to gain an audience, must have diverted the composer with his broken -German, which looks no more comical in the Conversation Book than it -must have sounded; but a canon without words which he carried away -with him may be said to bear witness to the fact that he made a good -impression on Beethoven, to whom he gave information concerning the -state of music in the Dutch country. Czerny, apparently, was urged -by his erstwhile teacher to get an appointment and to compose in the -larger forms. Beethoven was curious to learn how much Czerny received -for his compositions and Czerny told him that he attached no importance -to his pieces, because he scribbled them down so easily, and that he -took music from the publishers in exchange. - -The visit of the Danish composer, flautist and director, Friedrich -Kuhlau, led to a right merry feast, for a description of which -Seyfried found a place in the appendix of his "Studien." That the -boundaries of nice taste in conversation and story-telling may have -been strained a bit is an inference from the fact that several pages -of the Conversation Book containing the recorded relics of the affair -are missing. After a promenade through the Helenenthal in which -Beethoven amused himself by setting all manner of difficult tasks in -hill-climbing, the party sat down to dinner at an inn. Champagne flowed -freely, and after the return to Beethoven's lodgings red Voeslauer, -brought from his closet or cellar, did its share still further to -elevate the spirits of the feasters. Beethoven seems to have held his -own in the van of the revel. Kuhlau improvised a canon on B-a-c-h, to -which Beethoven replied with the same notes as an opening motive and -the words "Kuehl, nicht lau" ("Cool, not lukewarm")--a feeble play on -the Danish musician's name, but one which served to carry the music. -Beethoven wrote his canon in the Conversation Book. The next day Kuhlau -confessed to Schlesinger that he did not know how he had gotten home -and to bed: Beethoven's post-festal reflections may be gathered from -the letter which accompanied a copy of the canon which he sent to -Kuhlau by the hands of Holz: - - Baden, September 3, 1825. - - I must admit that the champagne went too much to my head also, - yesterday, and that I was compelled again to make the experience - that such things retard rather than promote my capacities; for easy - as it generally is for me to meet a challenge on the instant, I do - not at all remember what I wrote yesterday. - -In handing over letter and canon to Holz for delivery he wrote to him -that he had scarcely reached home before it occurred to him that he -might have made a dreadful mess of it on the day before. - -[Sidenote: A GARRULOUS PARISIAN PUBLISHER] - -Schlesinger, of Paris, son of the Berlin publisher, was a very -insistent as well as persistent courtier, with an auspicious eye to -business at all times. He wanted to purchase the two new quartets -and did succeed in getting one of them, and he aroused Beethoven's -suspicions by the pertinacity with which he pleaded for permission to -attend a rehearsal of the second; the pride of the composer revolted, -evidently, at the thought that a publisher should ask to hear a work of -his which he purposed buying. But Schlesinger, who had Nephew Karl as -his advocate at court in all things, made it appear that he was eager -only for the inestimable privilege of hearing the new works of the -master, and put in a plea that he might also hear the Quartet which -had already been sold to Schott and Sons. Holz discloses a distrust -of him very plainly and misses no occasion to warn Beethoven against -entangling alliances with the Parisian publisher. Schlesinger wins his -way to a very familiar footing with Beethoven, going so far once as -to ask him if a report which he had heard that Beethoven had wanted -to marry the pianist, Cibbini, was true.[136] The old page does not -tell us what answer Beethoven gave, but Schlesinger, who had disclosed -his own heartwounds and railed against the fair sex because of his -experiences, tells the composer that he shall be the first to make the -bride's acquaintance should he ever get married. Schlesinger appears -desirous to become a sort of dealer _en gros_ in Beethoven's products; -he would like the two new Quartets (in A minor and B-flat major); he -will publish a Complete Edition and begin with the chamber pieces, to -which ends he wants still another quartet and three quintets; he seeks -to awaken a literary ambition in the writer of notes--the journal -published by the Schlesingers in Berlin will be glad to republish -whatever Beethoven may write to the Mayence journal about the joke on -Haslinger, and Beethoven ought really to write some essays--on what a -symphony and an overture ought to be and on the art of fugue, of which -he was now the sole repository. He knows how to approach genius on -its most susceptible side. Beethoven must go to England, where he is -so greatly admired; he reports that Cherubini had said to his pupils -at the Conservatoire in Paris: "The greatest musical minds that ever -lived or ever will live, are Beethoven and Mozart." At dinner, at the -suggestion of the same garrulous talker, the company drink the healths -of Goethe and Cherubini. Again Schlesinger urges Beethoven to go to -London: "I repeat again that if you will go to England for three months -I will engage that, deducting your travelling expenses, you will make -1000 pounds, or 25,000 florins W. W. at least, if you give only two -concerts and produce some new music.... The Englishmen are proud enough -to count themselves fortunate if Beethoven would only be satisfied -with them." When the toast to Cherubini is drunk, Schlesinger takes -occasion to satisfy the curiosity of Beethoven touching the status of -the composer whom he most admired among living men. - - Cherubini has now received the title of Baron from the government - as well as the order of the Legion of Honor. It is a proof - of the recognition of his talent, for he did not seek it. - Napoleon, who appreciated him highly, once found fault with one - of his compositions and Cherubini retorted: "Your Majesty knows - no more about it than I about a battle." Napoleon's conduct - was contemptible. Because of the words that I have quoted he - took away all of Cherubini's offices and he had nothing to - live on. Nevertheless, he did an infinite amount of good for - popular culture. If Napoleon, instead of becoming an insatiable - world-conqueror, had remained First Consul, he would have been one - of the greatest men that ever existed. - -Schlesinger had his way about hearing the new Quartet (in A minor, Op. -132), for it was rehearsed at his rooms on Wednesday, September 7, -preparatory to the performance, which was to take place at the tavern -"Zum wilden Mann" at noon on September 9. Beethoven wanted the players -to come to him at Baden for the final rehearsal, but that was found -to be impracticable. On the day after the meeting at Schlesinger's, -however, Holz went out to Beethoven to tell him all about it. He -reported that Wolfmayr "at the _Adagio_ wept like a child?" and that -"Tobias scratched himself behind the ears when he heard the Quartet; he -certainly regrets that the Jew Steiner did not take it." - -We have an account of the performance at the "Wilden Mann" from -the English visitor whom Beethoven received at this time. This -was Sir George Smart, who, in the summer of 1825, made a tour of -Germany in company with Charles Kemble. He was with Mr. Kemble when -that gentleman made the agreement with Weber for "Oberon," but his -"principal reason for the journey," as he himself put it, "was to -ascertain from Beethoven himself the exact times of the movements of -his characteristic--and some of his other--Sinfonias."[137] Sir George -recorded the incidents of his meetings with Beethoven in his journal, -from which the following excerpts are taken: - -[Sidenote: SIR GEORGE SMART'S JOURNAL] - - On the 7th of September, at nine in the morning, I called on - Mayseder, who received me most politely.... We conversed about - Beethoven's Choral Symphony; our opinion agrees about it. When - it was performed here Umlauf conducted it and Kletrinsky and - Schuppanzigh were the leaders. All the basses played in the - recitative, but they had the story that it was written for - Dragonetti only. - - Friday, September 9th.--We then went to Mecchetti's music shop, - they, too, are publishers, and bought three pieces for Birchall.... - Mr. Holz, an amateur in some public office and a good violin - player, came in and said Beethoven had come from Baden this morning - and would be at his nephew's--Karl Beethoven, a young man aged - twenty--No. 72 Alleegasse.... At twelve I took Ries[138] to the - hotel Wildemann,[139] the lodgings of Mr. Schlesinger, the music - seller of Paris, as I understood from Mr. Holz that Beethoven - would be there, and there I found him. He received me in the most - flattering manner. There was a numerous assembly of professors - to hear Beethoven's second[140] new manuscript quartette, bought - by Mr. Schlesinger. This quartette is three-quarters of an hour - long. They played it twice. The four performers were Schuppanzigh, - Holz, Weiss, and Lincke. It is most chromatic and there is a - slow movement entitled "Praise for the recovery of an invalid." - Beethoven intended to allude to himself I suppose for he was very - ill during the early part of this year. He directed the performers, - and took off his coat, the room being warm and crowded. A staccato - passage not being expressed to the satisfaction of his eye, for - alas, he could not hear, he seized Holz's violin and played the - passage a quarter of a tone too flat. I looked over the score - during the performance. All paid him the greatest attention. - About fourteen were present, those I knew were Boehm (violin), - Marx ('cello), Carl Czerny, also Beethoven's nephew, who is like - Count St. Antonio, so is Boehm, the violin player. The partner of - Steiner, the music seller, was also there. I fixed to go to Baden - on Sunday and left at twenty-five minutes past two. - - Saturday, September 10th. I called for the music at Artaria's for - Birchall, for which I paid, and on our return found a visiting-card - from Earl Stanhope and also from Schlesinger of Paris with a - message that Beethoven would be at his hotel to-morrow at twelve, - therefore of course I gave up going to Baden to visit Beethoven, - which he had arranged for me to do.... In the morning Mr. - Kirchoffer called to say he should invite me to his house. It was - he who, through Ries, had the arrangement of procuring the Choral - Symphony for our Philharmonic Society. - - Sunday, September 11th.... From hence I went alone to - Schlesinger's, at the "Wildemann," where was a larger party than - the previous one. Among them was L'Abbe Stadler, a fine old man - and a good composer of the old school, to whom I was introduced. - There was also present a pupil of Moscheles, a Mademoiselle Eskeles - and a Mademoiselle Cimia [Cibbini?], whom I understood to be a - professional player. When I entered Messrs. C. Czerny, Schuppanzigh - and Lincke had just begun the Trio, Op. 70, of Beethoven, after - which the same performers played Beethoven's Trio, Op. 79--both - printed by Steiner. Then followed Beethoven's quartette, the same - that I had heard on September the 9th and it was played by the - same performers. Beethoven was seated near the pianoforte beating - time during the performance of these pieces. This ended, most of - the company departed, but Schlesinger invited me to stop and dine - with the following company of ten: Beethoven, his nephew, Holz, - Weiss, C. Czerny, who sat at the bottom of the table, Lincke, Jean - Sedlatzek--a flute player who is coming to England next year, and - has letters to the Duke of Devonshire, Count St. Antonio, etc.--he - has been to Italy--Schlesinger, Schuppanzigh, who sat at the top, - and myself. Beethoven calls Schuppanzigh Sir John Falstaff, not a - bad name considering the figure of this excellent violin player. - - We had a most pleasant dinner, healths were given in the English - style. Beethoven was delightfully gay but hurt that, in the letter - Moscheles gave me, his name should be mixed up with the other - professors. However he soon got over it. He was much pleased and - rather surprised at seeing in the oratorio bill I gave him that the - "Mount of Olives" and his "Battle Symphony" were both performed the - same evening. He believes--I do not--that the high notes Handel - wrote for trumpets were played formerly by one particular man. I - gave him the oratorio book and bill. He invited me by his nephew to - Baden next Friday. After dinner he was coaxed to play extempore, - observing in French to me, "Upon what subject shall I play?" - Meanwhile he was touching the instrument thus - - [Illustration] - - to which I answered, "Upon that." On which theme he played for - about twenty minutes in a most extraordinary manner, sometimes - very fortissimo, but full of genius.[141] When he arose at the - conclusion of his playing he appeared greatly agitated. No one - could be more agreeable than he was--plenty of jokes. We all wrote - to him by turns, but he can hear a little if you halloo quite close - to his left ear. He was very severe in his observations about the - Prince Regent never having noticed his present of the score of - his "Battle Symphony." His nephew regretted that his uncle had no - one to explain to him the profitable engagement offered by the - Philharmonic Society last year. - -Smart accepted Beethoven's invitation to visit him at Baden on -September 16, and at this meeting accomplished the specific purpose -of his visit to Vienna by getting Beethoven to give him the tempo of -various movements from his symphonies, by playing portions of them on -the pianoforte.[142] - -[Sidenote: BEETHOVEN'S INTEREST IN ENGLISH MATTERS] - -Though he had been warned not to write in Beethoven's book, Sir -George did not, or was not always able to, obey the injunction. A -considerable portion of the conversation at the meeting is preserved -in a Conversation Book which covers three dates, September 16, 19, and -24. From this book some excerpts are made here, since they bear on the -subject which filled so large a place in the plans of Beethoven for -several years, and were in his mind up to the time of his death--the -English tour. Other matters bearing on points of history which have -been or may be mentioned, are included. The nephew has translated for -Beethoven the announcement of the Ninth Symphony as it appeared on -the programme of the Philharmonic's concert of March 21, viz.: "New -Grand Characteristic Sinfonia, MS. with vocal finale, the principal -parts to be sung by Madame Caradori, Miss Goodall, Mr. Vaughn and Mr. -Phillips; composed expressly for this Society." No doubt Beethoven -gave expression, as he frequently had done, to his admiration for the -English people and possibly also for their national hymn, for Karl -translates the stanza: - - Long may he reign! - May he defend our laws, - And ever give us cause - To sing with heart and voice: - God save the king! - -The one-sided conversation proceeds: - - _Smart._--You understand English writing?--_Extremement - bien._----Winter _me dit que on l'intention de donner Fidelio a - music_. - - _Karl._--He would like to know the tempi of the finale of the last - symphony. Haven't you it here?-- - - How long you worked on the symphony?--How long does it last?--1 - hour and 3 minutes--3/4 hour--We are now going to take a walk. - -According to Smart's journal, Beethoven now ordered dinner "with his -funny old cook," told his nephew to look after the wine, and the party -of five took a walk in the course of which Schuppanzigh told Smart -that it was while sketching in the open air that Beethoven caught his -deafness. "He was writing in a garden and was so absorbed that he -was not sensible of a pouring rain, till his music paper was so wet -that he could no longer write." The story is inconsequential unless -Schuppanzigh had it from Beethoven who, as we have seen in an earlier -volume (Vol. I, p. 263 _et seq._), gave an entirely different account -of the origin of his deafness to Neate. Holz talks to Beethoven now -about Schlesinger, telling him that it was the publisher's purpose to -print the quartets in succession, which would postpone the appearance -of the thirteenth for two years, and advises Beethoven hereafter to -make immediate publication a condition of purchase. He suggests that if -he were to threaten not to compose the quintets under the circumstances -it might help. - - _Smart.--Elle est morte.--Kalkbrenner est a Paris.--Broadwood, - Stodart, Tomkinson, Clementi and Co.--Les meilleurs Pieces a vendre - a Londres sont les Duettos pour le Piano Forte.--Mais je dis pour - nous de composer a present.--Cramer, Moscheles, Neate, Potter.... - J'ai voyage par le Rhine et par la Donau.--Je suis Protestant; le - premier chose est d'etre honnete homme.... Esterhazy.--Le nom de - Capitaine, ou comme tous les autres.--On faites de badinage contre - moi en Allemagne--contre lui--moi je suis Garcon._ - - _Karl._--He asked why you had not come before now; he said the 300 - pounds of the Philhar. Society were not be to looked upon as the - principal thing. For that you needed only to appear 2 or 3 times in - the orchestra and make money with your own concerts.--He said that - in a short time you could make at least 1000 pounds and carry it - away with you.--10,000 florins, Vienna money.--If you would only - go. The 1,000 pounds would be easily earned and more.--You can do - better business with the publishers there than here.--And you'll - find 1,000 friends, Smarth [_sic_] says, who will do everything - to help you.--The sea fish.--In the Thames.... We'll wait till - the year is over before going to England.... You'll not leave - London so quickly if we are once there.--Others are living there - too, like Cramer, etc.--In two years at least 50,000 florins net. - Concerts.--I am convinced that if you were to want to go away from - here they would do everything to keep you here. - -We shall let Smart conclude the story of the meeting: - - On our return [from the walk] we had dinner at two o'clock. It - was a most curious one and so plentiful that dishes came in as we - came out, for, unfortunately, we were rather in a hurry to get to - the stage coach by four, it being the only one going to Vienna - that evening. I overheard Beethoven say, "We will try how much the - Englishman can drink." _He_ had the worst of the trial. I gave - him my diamond pin as a remembrance of the high gratification I - received by the honour of his invitation and kind reception and he - wrote me the following droll canon as fast as his pen could write - in about two minutes of time as I stood at the door ready to depart. - - [Illustration: Ars longa vita brevis] - - "Written on the 16th of September, 1825, in Baden, when my dear - talented musical artist and friend Smart (from England) visited me - here. - - Ludwig van Beethoven." - -[Sidenote: A VISITOR FROM AMERICA] - -Smart left Vienna on his return journey to London on September 20. -Three months later Beethoven received a visit from one who must have -raised more curious questionings in his mind than did the brilliant -young Englishman. With Smart he had corresponded years before. Smart -had produced his oratorio and his "Wellington's Victory" in England -and conducted the first performance in London of his Ninth Symphony; -there were direct bonds of sympathy between them. The other visitor -brought a message of appreciation from across the wide Atlantic. It -was Theodore Molt, evidently a German or a man of German birth, who, -a music teacher in Quebec, was making a European tour and gained the -privilege of telling Beethoven to his face how greatly he admired him, -then asked the favor of a souvenir which he could carry back on a -journey of "3,000 hours" as a precious keepsake. For him, on December -16, Beethoven wrote the canon, "Freu dich des Lebens" (Ges. Aus. Series -XXV, 285, 5).[143] - -To this period belongs an anecdote which is almost a parallel of one -related by Zelter to Goethe. It was told[144] by Mittag, a bassoon -player who had taken part in a performance of the Septet at a concert -on December 11. Going home one evening, Mittag stepped into a tavern -known as "Zum Dachs" to drink a glass of beer. Smoking was not allowed -in the place and there were few guests. In a corner, however, sat -Beethoven in the attitude of one lost in thought. After Mittag had -watched him a few minutes he jumped up and called to the waiter: "My -bill!" "Already paid!" shrieked the waiter in his ear. Mittag, thinking -that Beethoven ought not to be left alone, followed him without -betraying himself and saw him enter his house safely. - -On November 29, 1825, Beethoven was one of fifteen men elected to -honorary membership in the Gesellschaft der Musikfreunde by the -directors (Cherubini, Spontini, Spohr, Catel and Weigl being among -them); the election was confirmed by the society on January 26, 1826, -but the diploma was not issued until October 26, and thus reached -Beethoven's hands only a few months before his death. On November -25, Beethoven wrote to Schott and Sons promising to send them the -metronome marks for the Mass in D soon, telling them to print the list -of subscribers before the dedication, asking delay in the matter of the -dedication of the Ninth Symphony, and requesting that the publication -of both works be postponed three months. He gives the title of the mass -as follows: - - _MISSA - Composita et - Serenissimo ac Eminentissimo Domino Domino - Rudolpho Joanni Caesareo Principi et Archiduci Austriae S. R. E. - Tit. S. Petri in monte aureo Cardinali Archiepiscopo Olomucensi - profundissima cum veneratione dicata_ [sic] - _a - Ludovico van Beethoven_ - -On the same day he wrote to Peters in Leipsic to the effect that his -recent letters had not been definite and certain. He wanted a specific -statement that the amount which he (Beethoven) had received as an -advance was 360 florins. If Peters was willing to take a quartet for -that sum he would send him one as soon as possible; if not, and he -preferred to have the money, he would return it to him. "If you had -done this at once you might have had two quartets; but you can not ask -me to be loser. If I wanted to draw the strings tighter I could ask a -larger price. I will send nothing for examination." This, then, was -Beethoven's ultimatum: Peters must pay 360 florins for the Quartet or -receive back the money advanced three years before. Peters asked for -the money and it was paid over to Steiner and Co., on his order on -December 7. - -[Sidenote: INTIMACY WITH THE BREUNINGS RENEWED] - -In the renting season of St. Michael (September 29 to October 12) -Beethoven signed a lease for lodgings in the Schwarzspanierhaus, -Alservorstadt Glacis 200. Into this, which was the last lodging -occupied by Beethoven, he moved presumably on October 15. The house, -which is fully described and pictured in Gerhard von Breuning's book -"Aus dem Schwarzspanierhause," derived its name from the fact that it -had been built by the Benedictines of Spain. In it Beethoven occupied -four rooms on the second floor, besides a kitchen and servant's -quarters. One of the most important results of Beethoven's removal to -these quarters was a reestablishment of the intimate relations which -had existed for so many years with the friend of his youth Stephan -von Breuning, a Councillor in the War Department of the Austrian -Government, who lived hard by. Though there had been no open rupture -between him and Beethoven an estrangement had existed from the time -when von Breuning had advised against Beethoven's assumption of the -guardianship over his nephew. They had met occasionally _ad interim_, -but it was not until they became neighbors that the intimate friendship -which had existed in earlier years was restored. A beginning in this -direction was made when, on a visit to Vienna in August, Beethoven -met the Breuning family in the street. It was necessary that changes -be made in the lodgings and while waiting for them Beethoven became -a frequent visitor at the Breunings, dining with them frequently and -sometimes sending them a mess of fish, of which he was very fond. -Madame von Breuning meanwhile looked after the fitting out of his -kitchen and saw to the engagement of his servants. Concerning the -relations which existed between Beethoven and her father's family, -Marie, a daughter of Stephan von Breuning, wrote many years after:[145] - - My mother once met Beethoven when on her way to the Kaiserbad - on the Danube; he accompanied her for the rather long distance - from the Rothes Haus, where she lived. She spent about an hour in - the bath-house (the bath being a warm one) and on coming out was - surprised to find Beethoven waiting to accompany her home. She - often said that he was always gallant towards women and had paid - court to her for a while. - - She related, too, that his animated gestures, his loud voice and - his indifference towards others surprised the people in the street, - and that she was often ashamed because they stopped and took him - for a madman. His laugh was particularly loud and ringing. - - My mother often and repeatedly deplored the fact that she had never - heard him play--but my father, in his unbounded tenderness, always - replied when she expressed a desire to hear him: "He doesn't like - to do it, and I do not want to ask him because it might pain him - not to hear himself." - - Beethoven repeatedly invited my mother to coffee, or, as the - Viennese say, _zur Jause_; but my mother almost always declined, as - his domestic arrangements did not appear altogether appetizing. - - My mother often said to my father that Beethoven's habit of - expectorating in the room, his neglected clothing and his - extravagant behavior were not particularly attractive. My father - always replied: "And yet he has a great deal of success, especially - with women." - - Beethoven often told my mother that he longed greatly for domestic - happiness and much regretted that he had never married. - -Beethoven was fond of Stephan von Breuning's son Gerhard, whom, -because of his attachment to his father, he dubbed _Hosen-knopf_ -(Trousers-button) and because of his lightness of foot _Ariel_. He once -had the boy play for him, criticized the position of his hands and sent -him Clementi's Method as preferable to Czerny's which the lad was using. - -There can be no doubt that the renewed association with von Breuning -frequently turned his thoughts to his old home and his boyhood friends -in the Rhine country, and his delight must have been keen when in this -year, he received letters from Wegeler, whom he had not seen since -he left Vienna twenty-eight years before, and his wife, who had been -Eleonore von Breuning. They were tender letters, full of information -about their family, each other, friends and relations--real home -letters telling of births, marriages, careers and deaths. One would -think that they ought to have been answered at once, but Beethoven did -not find time or occasion to write a reply until the next year, despite -this obvious challenge in Dr. von Wegeler's letter: - - Why did you not avenge the honor of your mother when, in the - Encyclopaedia, and in France, you were set down as a love-child? The - Englishman who tried to defend you gave the filth a cuff, as we say - in Bonn, and let your mother carry you in her womb 30 years, since - the King of Prussia, your alleged father, died already in 1740--an - assertion which was altogether wrong since Frederick II ascended - the throne in 1740 and did not die till 1786. Only your inborn - dread of having anything but music of yours published is, probably, - the cause of this culpable indolence. If you wish it I will set the - world right in this matter. - -[Sidenote: THE LAST STRING QUARTETS] - -The great contributions which Beethoven made to music in the year 1825, -were the Quartets in A minor, Op. 132 and in B-flat major, Op. 130, -which were composed in the order here mentioned; but the second, being -published before its companion, received the earlier opus number. The A -minor Quartet was the second of the three which Beethoven composed on -invitation of Prince Galitzin, the first being that in E-flat, Op. 127, -the third that in B-flat. It was taken up immediately on the completion -of the E-flat Quartet. In March Beethoven had written to Neate that -the first of the three quartets which he thought of bringing with him -to London was written, that he was at work on the second and that it -and the third would be finished "soon." On the same day he wrote to -Schott and Sons: "The violin quartets are in hand; the second is nearly -finished." The sketches of the A minor (as established by Nottebohm) -date back to 1824. The work was originally to have the customary four -movements; labor on it was interrupted by the illness of April and -then the plan was changed to include the "Song of Thanksgiving in -the Lydian mode," the short march before the last movement, and the -minuet. The work was finished by August at the latest. The passage in -eighth-notes in the second part of the first movement is practically -a quotation from one of the German dances written for the Ridotto -balls fully thirty years before, with the bar-lines shifted so -that the change of harmony occurs on the up-beats of the measures. -In a Conversation Book used in May or June, 1825, Beethoven wrote -_Dankeshimne eines Kranken an Gott bei seiner Genesung. Gefuehl neuer -Kraft und wiedererwachtes Gefuehl_ ("Hymn of Thanksgiving to God of an -Invalid on his Convalescence. Feeling of new strength and reawakened -feeling"). In the original score this was changed to the reading: -"Sacred Song of Thanksgiving of a Convalescent to the Divinity, in -the Lydian Mode. N. B. This piece has always B instead of B-flat." As -has already been mentioned in the history of the Ninth Symphony, the -principal theme of the last movement was originally conceived for the -finale of that work. The B-flat Quartet was begun early in the year, as -the letters to Neate and Schott indicate. On August 29, Beethoven wrote -to his nephew that it would be wholly finished in ten or twelve days. -In November he himself writes in the Conversation Book: "Title for the -Quartet," and a strange hand adds: "_31eme Quatuor. Pour deux Violons, -Viola et Violoncello compose aux desirs de S. A. Monseigneur le Prince -Nicolas Galitzin et dedie au meme_," to which Beethoven adds: "par L. -v. B." The Quartet, though more than half-promised to Schlesinger, who -got the A minor Quartet, was sold to Artaria, and in January, 1826, -Holz writes, "The Quartet will be printed at once; thus the third -Quartet will appear before the first two." This was the case, which -accounts for the incorrect numbering of them. It had its first public -performance in March, 1826. The Fugue in B-flat, Op. 133, originally -formed the finale of the work but was put aside after the first -performance and the present finale, which was composed in Gneixendorf -in 1826, was substituted. - -After securing the A minor Quartet and an assurance that he should -also have that in B-flat (he had offered to deposit 80 ducats with a -Viennese banker against its completion and delivery and Beethoven had -accepted his offer), Schlesinger said that he would purchase the first -of the three Quartets from Schott and Sons so as to have all three -for his Complete Edition. Karl, in reporting the fact to Beethoven, -expressed his belief that the Schotts would sell for fear that if they -did not Schlesinger would reprint the work in Paris without permission. -The latter made a strenuous effort to get the autograph score of -the A minor, but had perforce to content himself with a copy. Holz -represented to Beethoven that the autograph would be an asset for Karl -in the future, and Karl was of the same opinion; he supported Holz's -assertion with the argument that such _Capitalien_ grew more valuable -with age and that he was sure Schlesinger would get 30 ducats for the -manuscript. Beethoven expressed indifference as to which publisher got -the works so long as he was promptly paid. In urging haste upon Holz, -who had undertaken to look after the copying of the B-flat, he wrote: - - It is immaterial which hellhound licks and gnaws my brains, since - it must needs be so, only see that the answer is not delayed - too long. The hellhound in L. can wait and meanwhile entertain - himself with Mephistopheles (the Editor of the Musik. L. Zeit.) in - Auerbach's Cellar; he will soon be plucked by the ears by Belzebub - the chief of devils. - -The Leipsic "hellhound" thus consigned to Belzebub was, of course, -Peters. It was about this time that Karl told his uncle an anecdote -to the effect that Cherubini, asked why he did not compose a quartet, -replied: "If Beethoven had never written a quartet I would write -quartets; as it is, I can not." After the meetings at Schlesinger's -room in the inn "Zum wilden Mann" the Quartets in E-flat and A minor -were played again at a concert in which Schuppanzigh was prevented from -taking part, and Holz played the first violin. Beethoven grew merry at -his expense and wrote a canon in the Conversation Book to the words: -"Holz fiddles the quartets as if they were treading _Kraut_." - -[Sidenote: PRAISE FROM THE BEPRAISED] - -Two trifles which kept company with the Quartets in this year were -a Waltz in D and an Ecossaise in E-flat for pianoforte, which were -published in a collection of light music by C. F. Mueller. There are -several allusions to the oratorio commissioned by the Gesellschaft -der Musikfreunde in the Conversation Books of 1825, in one of which -Grillparzer is mentioned as a likely author for another book; but so -far as is known no work was done on "The Victory of the Cross," though -Bernard shortened the book. Before the end of the year the principal -theme of the Quartet in C-sharp minor, Op. 131, is noted, accompanied -by the words written by Beethoven: "Only the praise of one who has -enjoyed praise can give pleasure";--it is, no doubt, a relic of some of -the composer's classic readings.[146] - -FOOTNOTES: - -[121] The correspondence nowhere shows a modification of the -stipulation that the Symphony was to be the exclusive property of the -Society for 18 months. But Kirchhoffer, Ries's representative, knew of -the preparations for the Vienna performance. - -[122] Dr. Deiters thinks Ries's hesitation was due to fear of -difficulties in the performance--a fear which was realized; it is more -likely, however, as may be deduced from the context of the letter, that -Ries felt that his London friends were not being treated fairly in the -matter, Beethoven having entered upon an obligation with them to let -them have exclusive possession of the Symphony for eighteen months -after the time of delivery. - -[123] Had he wholly forgotten the letter in which he offered -Schlesinger the Mass in 1822 and said that it would grieve him very -much if he could not give him "just this particular work"? - -[124] The canons were those on Hoffmann and Schwenke. - -[125] The remark is meaningless and was made only for the sake of a -play on words--_Rache_ and _Rachen_. Beethoven professed friendship to -Haslinger to the end, though he lampooned him in private. - -[126] The mark is _Allegro con moto_ in the Complete Edition; -_Allo. commodo_ in others. Joachim's edition gives the _commodo_ in -parenthesis. - -[127] There are pitiful proofs in the Conversation Books that simple -sums in addition were more than he could master and that on his -deathbed he studied the mysteries of multiplication. - -[128] Vol. II. p. 107 _et seq._ - -[129] Beethoven's table habits were thus described by Holz to Jahn: "He -was a stout eater of substantial food; he drank a great deal of wine at -table, but could stand a great deal, and in merry company he sometimes -became tipsy (_bekneipte er sich_). In the evening he drank beer or -wine, generally the wine of Voeslau or red Hungarian. When he had drunk -he never composed. After the meal he took a walk." - -[130] See the preface to his biography. - -[131] The date is Schindler's, but a palpable error; it may have been -1834. - -[132] It was among Thayer's papers. - -[133] Notes of Jahn's interviews with Holz were among Thayer's papers. - -[134] "Aus meinem Leben," Berlin, 1861, Vol. II, p. 24 _et seq._ - -[135] It was probably the performance by Boehm. - -[136] Antonia Cibbini, _nee_ Kozeluch, was among those who attended the -performance of the Quartet. In the conversation which followed, Karl -tells his uncle: "The Cibbini looked to me like a bacchante when the -Quartet was played; it pleased her so greatly." - -[137] By the "Characteristic Symphony" Smart meant the Ninth, which -he had directed at its first performance in London on March 21, 1825. -Mr. Thayer visited Sir George in February, 1861, and received from -him permission to make a transcript of all the entries in his journal -touching the meetings with Beethoven, also supplementing them with oral -information. The journal remained in manuscript for forty years after -Sir George's death and then was edited by H. Bertram Cox and C. L. E. -Cox and published by Longmans, Green and Co. in 1907, under the title: -"Leaves from the Journals of Sir George Smart." The extracts here -quoted are from the book, and show signs of having been revised after -Thayer copied them. - -[138] Not the composer, but a pianoforte maker of Vienna. - -[139] The Thayer transcript has it correctly: "at the inn _Zum wilden -Mann_." - -[140] In the Thayer transcript: "the second of the three MSS. -quartettes bought by Schlesinger." - -[141] Dr. Deiters prints in a foot-note a different version of this -story from Castelli's memoirs. According to this it was Castelli who -set the theme for Beethoven, he having, after long urging, said, -"Very well, in the name of the three devils; but Castelli, who has no -idea of pianoforte playing, must give me a theme." Thereupon Castelli -brushed his finger up and down three adjacent keys of the pianoforte -and these notes Beethoven continually wove into the music which he -improvised for an hour, by the clock. Smart names the ten men who -composed Schlesinger's party; Castelli's is not among them, and Smart's -story, noted in his journal at the time, is unquestionably correct. -Schlesinger may have given another dinner, or Castelli's imagination -been livelier than his memory. - -[142] When Mr. Thayer visited Sir George Smart in London in 1861 he -made the following notes of the conversation: Smart spoke, or rather -wrote on Beethoven's slate;--he had been warned not to write in -Beethoven's books--in French, a language which Beethoven (as he says) -spoke fluently. He (Smart) was particularly desirous of understanding -Beethoven's intentions as to the performance of the Choral Sym. and -spoke with him about the recitative for instruments in the last -movement. Beethoven's reply was: - -"The recitative in strict time." - -Smart objected, that so played, it was not a recitative nor had words -to recite. Beethoven replied, "he called it so;" and finally closed -the discussion with "I _wish_ it to go in strict time"; which, from -a composer, was of course decisive. The question of how the bass -recitatives ought to be played had already been discussed when the -rehearsals for the concert of 1824 were in progress, as may be seen -in a Conversation Book of March: _Schindler_:--"How many contrabasses -are to play the recitative?--All!--There would be no difficulty in -strict time, but to give it in a singing style will make careful study -necessary.--If old Krams were still alive we could let the matter go -unconcernedly, for he directed 12 contrabasses who had to do what he -wanted.--Good; then just as if words were under it?--If necessary I -will write words under it so that they may learn to sing." - -[143] From Thayer's note-book of 1857: "Circumstance related to -me by the son of Mr. Molt. When Mr. Molt called upon Beethoven, -December 16, 1825, (B.'s birthday) Beethoven showed him some verses -he had just written complimentary to a young lady and fell into -such enthusiasm talking about her that he passed entirely from his -musical conversation. Verses poor enough, Mr. Molt said. Mr. Molt also -described the meanness of the rooms in which B. lived." - -[144] To Thayer; from his note-book. - -[145] In a memorandum for Thayer. - -[146] _Laudari a viro laudate_--Naevius. _Laetus sum laudari me, inquit -Hector, opinor apud Naevium, abs te, pater, a laudate viro_--Cicero _ad -fam._ XV, 6; _Cum tragicus ille apud nos ait magnificum esse laudari a -laudato viro, laude digno, ait._--Seneca, _Epist._ 102, 16. - - - - -Chapter VIII - - A Year of Sickness and Sorrow: 1826--The Quartets in - B-Flat, C-Sharp Minor and F Major--Controversy with Prince - Galitzin--Dedication of the Ninth Symphony--Life at - Gneixendorf--Beethoven's Last Compositions. - - -[Sidenote: A REQUEST FOR THE GERMAN BIBLE] - -The year which witnessed the last of Beethoven's completed labors, -and saw what by general consent might be set down as the greatest of -his string quartets, that in C-sharp minor, Op. 131, beheld also the -culmination of the grief and pain caused by the conduct of his nephew. -The year 1826 was a year of awful happenings and great achievements; -a year of startling contradictions, in which the most grievous blows -which an inscrutable Providence dealt the composer as if utterly to -crush him to earth, were met by a display of creative energy which -was amazing not only in its puissance but also in its exposition of -transfigured emotion and imagination. The history of the year can -best be followed if it be told in two sections, for which reason we -have chosen to group the incidents connected with the nephew in a -chapter by themselves and review first the artistic activities of the -composer. After the history of the year has been set forth there will -remain to be told only the story of the gathering of the gloom which -early in the next year shut down over his mortal eyes forever. The -figure which stands out in highest relief throughout the year beside -that of the composer is that of Holz, whose concern for his welfare -goes into the smallest detail of his unfortunate domestic life and -includes also the major part of the labors and responsibilities caused -by the tragical outcome of the nephew's waywardness--his attempt at -self-destruction. Schindler appears at intervals, but with jealous -reserve, chary of advice, waiting to be asked for his opinion and -pettishly protesting that after it once has been given it will not be -acted upon. Stephan von Breuning appears in all the nobility of his -nature; and in the attitude and acts of Brother Johann, though they -have been severely faulted and, we fear, maligned, there is evidence of -something as near affectionate sympathy and interest as Beethoven's -paradoxical conduct and nature invited of him. Among the other persons -whom the Conversation Books disclose as his occasional associates are -Schuppanzigh, Kuffner, Grillparzer, Abbe Stadler and Mathias Artaria, -whose talk is chiefly about affairs in which they are concerned, though -Kuffner at one time entertains Beethoven with a discourse on things -ancient and modern which must have fascinated the artist whose mind -ever delighted to dwell on matters of large moment. Beethoven was -troubled with a spell of sickness which began near the end of January -and lasted till into March. Dr. Braunhofer was called and we read the -familiar injunctions in the Conversation Book. The composer has pains -in the bowels, gouty twinges, and finds locomotion difficult. He is -advised to abstain from wine for a few days and also from coffee, -which he is told is injurious because of its stimulating effect on -the nerves. The patient is advised to eat freely of soups, and small -doses of quinine are prescribed. There are postponed obligations of -duty--the oratorio, the opera, a _Requiem_--upon the composer which -occupy him somewhat, but his friends and advisers more. His thoughts -are not with such things but in the congenial region of the Quartets; -for the little community of stringed instruments is become more than -ever his colporteur, confidant, comforter and oracle. Kuffner tells him -through Holz that he has read Bernard's oratorio book but cannot find -in it even the semblance of an oratorio, much less half-good execution. -Perhaps there is something of personal equation in this judgment, for -Kuffner is ready to write not only one but even two oratorio texts if -Beethoven will but undertake their composition. He presents the plan -of a work to be called "The Four Elements," in which man is to be -brought into relationship with the imposing phenomena of nature, but -Beethoven has been inspired by a study of Handel's "Saul" with a desire -to undertake that subject and Kuffner submits specimens of his poetical -handiwork to him. He had become interested in the ancient modes (as -his Song of Thanksgiving in the Lydian mode in the A minor quartet had -already witnessed) and was now eager to read up on the ancient Hebrews. -He sends Holz to get him books on the subject and to a visitor, who to -us is a stranger (so far as the handwriting in the C. B. is concerned), -he expresses a desire to get Luther's translation of the Bible. He is -also interested in religious questions, as a long talk with his nephew -shows. Kuffner intended in his treatment of the story of Saul to make -it a representation of the triumph of the nobler impulses of man over -untamed desire, and said that he would be ready to deliver the book in -six weeks. Holz shows Beethoven some of the specimen sheets and points -out a place in which Beethoven might indulge in an excursion into -antique art. "Here you might introduce a chorus in the Lydian mode," he -says. He also explains that Kuffner intended to treat the chorus as an -effective agent in the action, for which purpose it was to be divided -into two sections, like the dramatic chorus of the Greek tragedians. -Kuffner was sufficiently encouraged to write the book and Holz says -that Beethoven finished the music of the first part "In his head"; if -so, it staid there, so far as the sketchbooks bear testimony. - -[Sidenote: WORKS WHICH WERE NEVER WRITTEN] - -Grillparzer still hopes that the breath of musical life will be -breathed into "Melusine"; Duport, having secured the Court Opera, asks -for it, and Brother Johann and Karl urge that an opera is the most -remunerative enterprise to which he can now apply himself. Schlesinger, -in Berlin, had told Count von Bruehl that Beethoven was disposed to -write an opera for the Royal Opera at the Prussian capital and Bruehl -had written to the composer that he would be glad to have an opera from -him and expressed a desire that he collaborate with Grillparzer in its -making; but he did not want "Melusine," because of the resemblance -between its subject and that of de la Motte-Fouque's "Undine." An -adaptation to operatic uses of Goethe's "Claudine von Villa Bella" was -discussed, apparently with favor, but Kanne, who was designated to take -the adaptation in hand, was afraid to meddle with the great poet's -drama. So nothing came of the Berlin project or of "Melusine," though -Grillparzer talked it over again with Beethoven and told Holz that -though he was not inclined to attach too great importance to it, he yet -thought it would be hard to find an opera text better adapted to its -purpose than it, from a musical and scenic point of view. To Schindler, -Beethoven once held out a prospect that "something would come" of the -idea of music for "Faust" which Rochlitz had implanted in Beethoven's -mind; but it shared the fate of opera and oratorio. His friends also -urged him to compose a Requiem mass and such a composition belongs in -the category with the oratorio as a work which he had been paid to -undertake. Among the ardent admirers of Beethoven and most zealous -patrons of the Schuppanzigh Quartets was Johann Nepomuk Wolfmayer, a -much respected cloth merchant. One of the methods chosen by Wolfmayer -to show his appreciation of the composer was occasionally to have a new -coat made for him which he would bring to Beethoven's lodgings, place -upon a chair and then see to it that an old one disappeared from his -wardrobe. We have already heard a similar story from Mayseder. It is -said that Wolfmayer sometimes had difficulty in getting the composer's -consent to the exchange, but always managed to do it. Early in the -second decade of the century Wolfmayer commissioned Beethoven to write -a _Requiem_ for him and paid him 1,000 florins as an advance on the -honorarium. Beethoven promised, but never set to work: though Holz says -that he was firmly resolved to do so and, in talking about it, said -that he was better satisfied with Cherubini's setting of the text of -the Mass for the Dead than with Mozart's. A _Requiem_, he said, should -be a sorrowful memorial of the dead and have nothing in it of the -noises of the last trump and the day of judgment. - -The sketchbooks bear witness, though not voluminously, to two other -works of magnitude which were in Beethoven's thoughts in this year but -never saw completion. These were a symphony and a string quintet. In -a book used towards the end of 1825, containing sketches for the last -movement of the Quartet in B-flat, there is a memorandum of a _Presto_ -in C minor, 3-4 time, and of a short movement in A-flat, _Andante_, -which Schindler marked as belonging to "the tenth symphony." There -are also some much longer sketches for an overture on B-a-c-h, in the -midst of which Beethoven has written: "This overture together with -the new symphony and we shall have a new concert (_Akademie_) in the -Kaernthnerthor." Schindler published the sketches of the symphony in -Hirschbach's "Musikalisch-kritisches Repertorium" of January, 1844, -and started the story of an uncompleted tenth symphony. Nottebohm, in -his "Zweite Beethoveniana" (p. 12), scouts the idea that Beethoven -occupied himself seriously with the composition of such a work. "It is -not necessary," he says, "to turn over many leaves of the sketchbooks -to prove the untenableness of the view that if Beethoven had written -a Tenth Symphony it would have been on the basis of these sketches. -We see in them only such momentary conceits as came to Beethoven by -the thousand and which were as much destined to be left undeveloped -as the multitude of other abandoned sketches in the other books. -To be big with a symphony argues persevering application to it. Of -such application there can be no talk in this case. The sketches in -question were never continued; there is not a vestige of them in the -books which follow. If Beethoven had written as many symphonies as -he began we should have at least fifty." Nottebohm's argument does -not dispose of the matter, though we shall presently find occasion to -think well of it. Lenz says that Holz wrote to him that Beethoven had -played "the whole of the Tenth Symphony" for him on the pianoforte, -that it was finished in all of its movements in the sketches, but -that nobody but Beethoven could decipher them. Holz, however, made no -such broad statement to Otto Jahn, a much more conscientious reporter -than Lenz. To Jahn he said that there was an introduction in E-flat -major, a soft piece, and then a powerful Allegro in C minor, which were -complete in Beethoven's head and which he had played to him (Holz) on -the pianoforte. This is very different from an entire symphony. But -in the letter to Moscheles which Schindler says Beethoven dictated to -him on March 18, 1827, bearing a message of thanks to the Philharmonic -Society of London, Beethoven says: "An entire sketched symphony lies -in my desk, also a new overture and other things"; and a few days -later Schindler writes to Moscheles: "Three days after receiving your -letter he was greatly excited and demanded the sketches of the Tenth -Symphony, concerning the plan of which he told me a great deal. He has -now definitely decided that it shall go to the Philharmonic Society." -The reader is familiar with Beethoven's habit of speaking of works as -finished though not a note of them had been put on paper (as in the -case of the additional movements for the Mass in D, for instance), and -if there were sketches for a finished symphony in Beethoven's desk when -he died, it is passing strange that Schindler did not produce them -when he started the world to talking about its loss of a successor to -the Ninth. What Nottebohm saw in the books deposited by Schindler in -the Royal Library in Berlin seems to justify what he said, at least. -Moreover, Schindler says that the sketches for the Symphony dated back -to 1824, and the incorrectness of this statement can be shown beyond -all peradventure by Nottebohm's study of the sketchbooks. Of the other -works which play a part in the story of 1826, something will be said -hereafter. - -[Sidenote: BEETHOVEN'S FAVORITE QUARTET] - -Opera, oratorio, the mass for the dead, symphony, beckoned to him, but -his affections were fixed in the higher and purer regions of chamber -music, the form which represents chaste ideals, lofty imagination, -profound learning; which exacts a mutual sympathy between composer, -performer and listener and binds them in something like that angelic -wedlock which Weber said to Planche ought to unite librettist and -composer. When the year 1826 opened, Beethoven was looking forward -with no little eagerness to the first performance of the Quartet in -B-flat--his "Liebquartett" it is once called in the Conversation Books. -Schuppanzigh and his fellows had taken it in hand. They found the -concluding fugue extremely troublesome, but the Cavatina entranced them -at once; Schuppanzigh entered a record against any change in it. The -performance took place on March 21. The second and fourth movements had -to be repeated, but the fugue proved a _crux_ as, no doubt, the players -had expected it would. Some of Beethoven's friends argued that it had -not been understood and that this objection would vanish with repeated -hearings; others, plainly a majority, asked that a new movement be -written to take its place. Johann van Beethoven told the composer that -"the whole city" was delighted with the work. Schindler says that -the _Danza alla tedesca_, one of the movements which were demanded a -second time, was originally intended for another quartet, presumably -that in A minor. Lenz objects to the theory on critical grounds, but -Nottebohm points out that the first sketches appear in A before the -sketches for the B-flat Quartet and assigns them to the A minor Quartet -without qualification of any kind. Dr. Deiters suggests that the -movement was written for the A minor Quartet and put aside when the -Song of Thanksgiving presented itself to Beethoven's mind. There is -another reason for believing that Nottebohm is right and Lenz, as he -so frequently is, is wrong. As has been mentioned, Beethoven recurred -to one of his old German dances, written for the Ridotto balls, in the -first movement of the A minor Quartet; what more likely than that, -thinking over the old German dance, he should have conceived the idea -of a _Danza tedesca_? Schuppanzigh's high opinion of the Cavatina was -shared by many and also by Beethoven himself. Holz said that it cost -the composer tears in the writing and brought out the confession that -nothing that he had written had so moved him; in fact, that merely to -revive it afterwards in his thoughts and feelings brought forth renewed -tributes of tears. - -The doubts about the effectiveness of the fugue felt by Beethoven's -friends found an echo in the opinions of the critics. Mathias Artaria, -the publisher, who seems in this year to have entered the circle -of the composer's intimate associates, presented the matter to him -in a practicable light. He had purchased the publishing rights of -the Quartet and after the performance he went to Beethoven with the -suggestion that he write a new finale and that the fugue be published -as an independent piece, for which he would remunerate him separately. -Beethoven listened to the protests unwillingly, but, "vowing he would -ne'er consent, consented" and requested the pianist Anton Halm, who -had played in the B-flat Trio at the concert, to make the pianoforte -arrangements for which there had already been inquiries at Artaria's -shop. Halm accepted the commission and made the arrangement, with -which Beethoven was not satisfied; "You have divided the parts too -much between _prim_ and second," he remarked to Halm,[147] referring -to a device which the arranger had adopted to avoid crossing of -hands--giving passages to the right hand which should logically have -been given to the left, the effect being the same to the ear but not to -the eye. Nevertheless, Halm presented a claim for 40 florins to Artaria -for the work, and was paid. Beethoven then made an arrangement and -sent it to Artaria, also demanding a fee. To this Artaria demurred and -asked Beethoven for Halm's manuscript. Beethoven sent it by a messenger -(probably Holz) with instructions to get his arrangement in return for -it, but at the same time told Artaria, that while he did not ask that -Artaria publish his work, he was under no obligations to give it to -him; he might have it for twelve ducats. Artaria reconciled himself -to the matter and paid Beethoven his fee on September 5. Schindler -incorrectly states that the arrangement which Artaria announced on -March 10, 1827, as Op. 134 (the original score being advertised at the -same time as Op. 133), was Halm's. - -Other performances of the Quartet were planned, but it does not appear -that any took place. Schuppanzigh was indisposed to venture upon a -repetition, but Boehm and Mayseder were eager to play it. The latter -with his companions gave quartet parties at the house of Dembscher, an -agent of the Austrian War Department, and wanted to produce the Quartet -there. But Dembscher had neglected to subscribe for Schuppanzigh's -concert and had said that he would have it played at his house, since -it was easy for him to get manuscripts from Beethoven for that purpose. -He applied to Beethoven for the Quartet, but the latter refused to let -him have it, and Holz, as he related to Beethoven, told Dembscher in -the presence of other persons that Beethoven would not let him have -any more music because he had not attended Schuppanzigh's concert. -Dembscher stammered in confusion and begged Holz to find some means -to restore him to Beethoven's good graces. Holz said that the first -step should be to send Schuppanzigh 50 florins, the price of the -subscription. Dembscher laughingly asked, "Must it be?" (_Muss es -sein?_). When Holz related the incident to Beethoven he too laughed and -instantly wrote down a canon on the words: "It must be! Yes, yes, yes, -it must be. Out with the purse!"[148] - -[Sidenote: ORIGIN OF "ES MUSS SEIN!"] - -Out of this joke in the late fall of the year grew the finale of the -last of the last five quartets, that in F major. Op. 135, to which -Beethoven gave the superscription: "The difficult resolution" (_Der -schwergefasste Entschluss_). The story, almost universally current and -still repeated, that the phrases: _Muss es sein_? _Es muss sein_, and -_Der schwergefasste Entschluss_ had their origin in - -[Illustration: - - Es muss sein! Es muss sein! ja, ja, ja, ja - It must be! It must be! yes, yes, yes, yes - - Es muss sein! ja, ja, ja, ja Es muss sein! ja, ja, ja, ja - It must be! yes, yes, yes, yes, It must be! yes, yes, yes, yes - - Heraus mit dem Beutel! Heraus! Heraus: Es muss sein! - Come down with the rhino! Come down! Come down! It must be! - - Ja, ja, ja, ja, ja, ja, ja, ja, ja, ja, Es muss sein! - Yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, It must be! -] - -a scene frequently repeated when Beethoven's housekeeper came to him -of a Saturday for the weekly house-money, was spread by Schindler, who -was familiar in a way with the Dembscher incident but assigned it to -the Quartet in E-flat. Holz was an actor in the scene and is the better -witness, being confirmed, moreover, by the Conversation Book. Schindler -probably took his clue from a page in the Conversation Book used in -December, 1826, in which Beethoven writes the phrases "Must it be?" and -"It must be," and Schindler, after a conversation in which Schuppanzigh -takes part, concludes with: "It must be. The old woman is again in need -of her weekly money." The joke played a part in the conversations with -Beethoven for some time. - -Holz says that when once he remarked to Beethoven that the one in -B-flat was the greatest of his Quartets the composer replied: "Each -in its way. Art demands of us that we shall not stand still. You -will find a new manner of voice treatment (part writing) and, thank -God! there _is less lack of fancy than ever before_." Afterward he -declared the C-sharp minor Quartet to be his greatest. The first form -of the fugue-theme in this work, as has been noted, was written down -in a Conversation Book in the last days of December, 1825. The theme -of the variations, in a form afterwards altered, was also noted amid -the records of conversations before the end of January, 1826. It is -likely that a goodly portion of the work was written within a month and -ready for the copyist, for Schuppanzigh once in January suggests that -something from the work in hand be tried. Whether or not it was ever -played in the lifetime of the composer can not be said with certainty. -Schindler says positively that it was not. It was ready for the -publisher in July and Schott and Sons, who had bought it for 80 ducats -payable in two installments, sent the drafts early to accommodate -Beethoven, who spoke of being on the eve of a short journey--of which -nothing is known save that he did not make it. The score was turned -over to Schott's agent in Vienna on August 7. On the copy Beethoven -had written "Put together from pilferings from one thing and another" -(_Zusammengestohlen aus Verschiedenem diesem und Jenem_). This alarmed -the publishers, who wrote to Beethoven about it and in reply received -a letter stating: "You wrote me that the quartet must be an original -one. As a joke I wrote on the copy 'Put together, etc....'; but it is -brand new." It was published by Schott and Sons very shortly after -Beethoven's death in April, 1827, under the opus number 129. Beethoven -originally intended to dedicate it to Wolfmayer but out of gratitude to -Baron von Stutterheim, Lieutenant Fieldmarshal, who had made a place -for Nephew Karl in his regiment, placed his name upon the title-page. - -[Sidenote: PRINCE GALITZIN AND HIS QUARTETS] - -With the Quartet in B-flat, Beethoven had completed the three works of -its kind which he had been commissioned to compose by Prince Nicolas -Galitzin. He had taken three years to perform the task, but in the -end the patience of his patron had been nobly rewarded--rewarded, -indeed, in a manner which insured him as large a share of immortality -as falls to the lot of a man--and meanwhile he had been privileged -to shine in the musical circles of St. Petersburg as one who stood -peculiarly close to the greatest of living composers. During the delay -Prince Galitzin's conduct was in the highest degree honorable. In his -letters he was most generous in his offers of assistance, practically -giving Beethoven _carte blanche_ to draw on his bankers in case of -need. He organized a performance of the _Missa solemnis_ (the first -given of the work or any portion of it), and presented his copy of the -written score to the Philharmonic Society of St. Petersburg. He was so -proud of his collection of Beethoven's music that he applied to the -composer himself to help him make it complete. Too eager to wait for -the publishers, he commissioned Beethoven to have copies made of new -works, like the Ninth Symphony and the overture to "The Consecration -of the House," at his expense. He entertained the idea of repeating -in St. Petersburg the concert which Beethoven had given in Vienna, at -which the Symphony had received its first performance. For a while -he contemplated a repetition of the Mass. Beethoven had dedicated the -overture to him and he had written that he would requite the act with -a gift of 25 ducats. All this before he received the Quartets. Then a -strange and unaccountable change came over his attitude towards the -composer. Beethoven sent the first Quartet to him in January, 1825; -the second and third sometime in February, 1826. He had followed up -his commission in 1823 with an order to his bankers, Henikstein and -Co. in Vienna, to pay Beethoven 50 ducats, the fee agreed upon, for -each Quartet. The money was paid over in October, 1823, but with his -express consent, at Beethoven's request, was applied to the payment -of his subscription for the Mass. If there could be any doubt on this -point it would be dissipated by the letter in which Henikstein and -Co., forwarded Beethoven's receipt. This letter was written on October -15, 1823, and stated that the sum had been paid _comme honoraire de la -messe que nous expediee par l'entremise de la haute chancellerie de -l'Etat_. On December 5, 1824, let us say six weeks or two months before -he received the first Quartet, he sent another 50 ducats, which it is -fair to assume was the fee for that work and took the place of the sum -diverted to the payment for the Mass. These facts must be carefully -noted and borne in mind, for the question of Galitzin's indebtedness to -Beethoven became the subject of a scandalous controversy a long time -after the composer's death; it endured down to 1838 and might be opened -again were there a disposition in any quarter to do so. For the present -the story of the Quartets during Beethoven's lifetime may be pursued -as it is disclosed by records in the Conversation Books and so much of -the correspondence as has been preserved. - -In February, 1826, one of the Quartets, perhaps both of them, had been -sent to St. Petersburg by special courier. ("Everything written by -Beethoven ought to be sent to its destination by special courier," is -one of Schuppanzigh's magnificent remarks when the question of sending -the Quartet to the Prince is under discussion.) The money did not -come and Beethoven grew impatient and anxious. Karl tried to reassure -him. The Prince had written _Je vais_, he remarks in the Conversation -Book, plainly referring to a letter dated January 14, 1826, in which -Prince Galitzin had said: "_Je vais faire remettre a M. Stieglitz_ -(his banker) _la valeur de 75 ducats pour vous etre remis par M. -Fries; 50 pour le quatuor et 25 pour l'ouverture qui est magnifique -et que je vous remercie beaucoup de m'avoir dediee_." Still the money -did not come. In the middle of May Holz reports to Beethoven that a -letter had been received from the courier, whose name was Lipscher. -He had called on Prince Galitzin, who had begged to be excused; "he -had not time--call another day." He had repeated the visit five or six -times, but each time was denied an audience on one pretext or another. -Finally, he had bribed a domestic with five florins and found his -way to the Prince, who seemed greatly embarrassed, fumbled amongst -his scores for a time and then asked him to come again before his -departure and he would give him the money. The courier had added that -he considered it a "Russian trick" but that he was not to be disposed -of so easily. Lipscher would be back in Vienna in four or five days, -Holz added, and advised Beethoven to await his coming before writing -to him. Schindler, a short time after, gives his views in a style -characteristic of his attitude toward Beethoven during the period of -Holz's factotumship: "The matter of the Prince Galitzin is getting -critical and I wish you a happy outcome. If you had obeyed me he would -have had only one quartet and with that _basta_. You never permitted -yourself to be deceived by flattery as you have by this princely -braggart." Again: "_Voila_, the letter to Count Lebzeltern (Russian -Ambassador) and the banker Stieglitz. They can go to-day as it is great -postday. What more is there to be considered? Wait, and wait--and no -results. Breuning is agreed. If Prince Galitzin could act in such -contradiction to his letters nothing good is to be expected of him." -At a later date there came another letter from the courier. He had -tried seven times to see the Prince, but all in vain. Later (it was now -July) he had gone again; the Prince had been polite, but denied him -admittance. Still later in the same month Karl tells his uncle that he -wants to write to Stieglitz, the Prince's banker, upon whom Beethoven -had been told to draw in case he needed money. Karl does not use -general terms as to the sum involved, but specifically says "the 125 -ducats." On August 2 Beethoven wrote to Stieglitz and Co., from whom he -received a letter dated August 13 saying that the Prince was absent, -but his attention should be directed to the matter. Evidently the -bankers kept their word, for on November 10-22, Prince Galitzin wrote -to Beethoven saying that he had received the two Quartets but had been -the victim of great losses and other misfortunes; he was now obliged to -go to the wars in Persia, but before going would pay the "125 ducats" -which he owed, thus admitting the debt in specific terms. On January -10, 1827, Beethoven, already on his deathbed, dictated a letter of -inquiry to Stieglitz and Co., and the bankers again answered promptly: -they were still waiting for an answer from the Prince. Five days -before his death Beethoven made his last appeal to Stieglitz and Co., -reviewing the recent correspondence and Galitzin's promise and asking -the bankers, if the money had been received, to forward it to Arnstein -and Eskeles, as he was greatly in need of it because of his protracted -sickness. Beethoven dictated the letter, but signed it himself and -endorsed the draft: "To Prince Galitzin, concerning 125 ducats, March -21, 1827." He died on March 26. - -[Sidenote: DID GALITZIN PAY FOR THE QUARTETS?] - -Thus stands the record at the time of Beethoven's death. Prince -Galitzin was back from the wars, but sent no money. On March 20, 1829, -Hotschevar as guardian of Karl van Beethoven appealed to the Imperial -Chancellary to ask the Embassy at St. Petersburg to collect the debt -of 125 ducats from the Prince. Galitzin demanded an explanation, but -after repeated requests from Karl agreed to pay 50 ducats in two -installments of 20 and 30 ducats each. The sums were paid, the latter, -as Karl's receipt shows, on November 9, 1832. Karl continued to make -representations to the Prince touching a balance of 75 ducats still -due and on June 2-14, 1835, Galitzin promised to pay the sum, not as -a balance due on his business transactions with Beethoven, but as a -memorial _pour honorer sa memoire, que m'est chere_. Even now the -money was not paid, but after a controversy had broken out between -Schindler and the Prince over the former's charge that Beethoven had -never been paid for the Quartets, Galitzin sent the 75 ducats, and Karl -complaisantly acquiesced in the Prince's request and signed a receipt -for the money, not as in payment of the debt, but as a voluntary -tribute to the dead composer.[149] - -[Sidenote: DEDICATION OF THE NINTH SYMPHONY] - -Schott was ready with the Ninth Symphony in July, 1826, but Beethoven -asked him to delay the despatch of the printed score to the King of -Prussia, to whom it was dedicated, until he had had an opportunity -to send the monarch a manuscript copy, which, he said, would have no -value after the publication. The reward which he was looking forward to -in return was a decoration. The Conversation Books have considerable -to say about the dedication, but if the London Philharmonic Society -ever entered Beethoven's mind in connection with it, the record has -been lost. He wanted an Order, and had he received one in time for -the concert, its insignia would, in great likelihood, have graced his -breast on that occasion. He had repeatedly expressed contempt for the -outward signs of royal condescension, but the medal sent by the King -of France had evidently caused a change of heart in this regard. He -was eager to see a description and illustration of the medallion in -the newspapers; and that he thought of hanging it about his neck, -appears from a remark to him made by Karl before the concert, telling -him that it was too heavy to wear and would pull down his collar. -Visitors called to see it and he permitted his intimate friends to -show it about, until Holz cautioned him to do so no more, as it was -showing marks of damage from a fall. In one conversation, Johann -suggests that the Symphony be dedicated to the Czar of Russia and from -a remark in one of Prince Galitzin's letters telling him that, by a -recent decree, all foreigners who wished to dedicate works of art to -the Czar would have to obtain permission to do so from the Minister of -Foreign Affairs, it would appear that Johann's suggestion, or approval, -had also received his sanction. Ferdinand Ries was also a candidate -for the distinction (Beethoven had promised him the dedication in a -letter), his claim being put forward, without particular urgency, by -Franz Christian Kirchhoffer, a bookkeeper with whom Beethoven was -acquainted and through whom Ries carried on his correspondence with -the composer. On April 8, 1824, Karl wrote in a Conversation Book: -"As soon as the Symphony has been sent to England it must be copied -again handsomely on vellum paper and sent with an inscription to the -King of France." On the same day, apparently, Schindler asks: "Who has -the preference in the matter of the dedication of the Symphony--Ries -or the King of Prussia?--It ought to be offered as a proof of your -gratitude, in these words.--There could be no better opportunity than -just now for this purpose." It is obvious that Schindler favors the -King of France, for a day or two later he writes: "Schwaebl sends his -compliments and is highly delighted that you are pleased with the gift. -As regards the you-know-what he wants you to write to the Duke de la -Chartre [d'Achats] yourself, but for the present nothing about the -dedication--leave the reference till later." The advice is repeated and -the subject concluded with: "Good, then you will stick to France." - -These facts belong chronologically to the history of 1824, but they -have been made pertinent by the discussion of the dedication and -presentation of the Ninth Symphony to the King of Prussia, which took -place in 1826. They are also valuable to correct a misapprehension -which has prevailed ever since the publication of Hogarth's history -of the London Philharmonic Society and was no doubt current before -then. Hogarth says that the directors of the society resolved to offer -Beethoven L50 for a manuscript symphony on November 10, 1822, and adds, -"the money was immediately advanced." In a note to his translation of -one of Beethoven's letters (Kalischer-Shedlock, Vol. II, p. 448) Mr. -Shedlock calls attention to the fact that there is a document in the -British Museum, acknowledging receipt of L50 for a symphony composed -for the society, dated April 27, 1824. This document proves the date on -which Beethoven received the remuneration for the Symphony to have been -that indicated in the receipt beyond peradventure. On April 26 or 27 -Karl writes, in the Conversation Book from which we have been quoting: - - - He [presumably Johann van Beethoven] is not at home at noon. He - will himself come soon after 7. He says you owe him 500 florins - which is squared by the payment for the Symphony. Moreover Ries - begs you to dedicate the Symphony to him.--Shares--You must not - refuse bluntly, but give him an evasive answer, until you have - the shares. Is the Symphony ready to be taken away?--Then you can - go out and the brother will come here. The Symphony must not be - published for a year.[150] Did you dedicate the overture to him? - You might dedicate it to him. - - _Johann_ (a short time afterward).--Kirchhoffer was here and said - that ducats have depreciated in value and we ought to inform - ourselves at once. He wants me to bring him the two documents and - the Symphony, when he will at once hand over the two shares. I - beg you therefore to sign this now so that I can be with him at - 10 o'clock. I will bring the two shares at once.--The girl can - carry the Symphony with me now.--As regards the dedication of the - Symphony it was only a question put for Ries by Kirchhoffer and - must in no case be. He would have liked to see Ries [get it?] - because he is going to leave London soon.--I told him it could not - well be in the case of this work, whereupon he said no more. In no - event does he count on it longer. - -When finally, in 1826, Beethoven decided that the Symphony should be -dedicated to the King of Prussia, he obtained permission of Prince -Hatzfeld, the Prussian Ambassador, to do so. Dr. Spicker, the King's -librarian, was in Vienna at the time and arrangements were made -to transmit a copy of the score to Berlin through him. Holz had a -talk with him and he advised him concerning the preparation of the -presentation copy and also discussed the possibility of a decoration. -Spicker told Holz to have Beethoven copy the title of the printed work -on the title-page in his natural and habitual handwriting without any -attempt at beautification. This would enhance the value of the score -in the eyes of the King and he would put it in his private library. To -get the order would be an easy matter, for the King was predisposed in -Beethoven's favor. Spicker also visited Beethoven, being presented by -Haslinger, but, unfortunately, the pages of the book which must have -recorded the conversation have not been preserved; or, if preserved, -not been made known. Beethoven wrote the title-page, the score was -handsomely bound by Steiner and Co. and placed in the hands of Dr. -Spicker with the following letter: - - Your Majesty: - - It is a piece of great good fortune in my life that Your Majesty - has graciously allowed me to dedicate the present work to you. - - Your Majesty is not only the father of your subjects but also - protector of the arts and sciences; how much more, therefore, must - I rejoice in your gracious permission since I am also so fortunate - as to count myself a citizen of Bonn and therefore one of your - subjects. - - I beg of Your Majesty graciously to accept this work as a slight - token of the high reverence which I give to all your virtues. - - Your Majesty's - Most obedient servant - Ludwig van Beethoven. - -[Sidenote: A ROYAL GIFT OF SMALL VALUE] - -The King's acknowledgment was as follows: - - In view of the recognized worth of your compositions it was very - agreeable for me to receive the new work which you have sent me. I - thank you for sending it and hand you the accompanying diamond ring - as a token of my sincere appreciation. - - Berlin, November 25, 1826 - Friedrich Wilhelm. - - To the composer Ludwig van Beethoven. - -Schindler says that when the case containing the King's gift was -opened it was found to contain, not a diamond ring as the letter had -described it, but one set with a stone of a "reddish" hue which the -court jeweller to whom it was shown appraised at 300 florins, paper -money. Beethoven was very indignant and was with difficulty dissuaded -from sending it back to the Prussian Ambassador; eventually he sold -it to the jeweler at the value which he had set upon it. Whether or -not the ring was the one really sent from Berlin or one which had been -substituted for it (as was suspected in some quarters), has never been -determined. - -Despite the cordial relations between Beethoven and Haslinger, which -endured to the end of the composer's life, there was continual friction -between him and the Steiner firm, for which it would seem that Holz -was at this time responsible in a considerable degree; and it may have -been he who put the notion into Beethoven's head that it would be a -stroke of business to buy back all of his manuscripts which Steiner had -acquired but had not yet published. Dissatisfaction with the policy -of publishers, however, was in Beethoven a confirmed mood; we have -heard him rail against the men who wanted to withhold his works till -he was dead, so as to profit from the public curiosity which would -follow. Beethoven made the proposition in a jocular letter to Haslinger -offering to pay the same "shameful" price for all his unpublished -manuscripts which the firm had paid him. The transaction was not -consummated; if it had been there can be no doubt but that it would -have been highly advantageous to him, since both Schott and Artaria -were now eager to have his works. - -[Sidenote: A DEFENSE OF MOZART'S "REQUIEM"] - -Among Beethoven's intimate friends was Abbe Stadler, an old man and -an old-fashioned musician, the horizon of whose aesthetic appreciation -was marked by the death-date of his friend Mozart. Castelli says that -he used to call Beethoven's music "pure nonsense"; certain it is that -he used to leave the concert-room whenever a composition by Beethoven -was to be played. Schuppanzigh offered as an excuse for him that he -had a long way home, and it does not appear that Beethoven ever took -umbrage at his conduct. Holz, telling Beethoven in February, 1825, -that as usual he had left the room when an overture by Beethoven was -about to be played, added: "He is too old. He always says when Mozart -is reached, 'More I cannot understand.'" But once he staid and not -only listened to a Beethoven piece but praised it. It was the Trio for -Strings, Op. 9, which had been composed nearly a generation before! -Holz becomes sarcastic: "One might say A. B. C. D. (_Abbe cedait_)." -Stadler now had occasion to court Beethoven's favor, or at least to -betray the fact that even if he could not appreciate his music he -yet had had a vast respect for his genius and reputation. In 1825, -Gottfried Weber had written an essay, which was published in the -"Caecilia" journal, attacking the authenticity of Mozart's "Requiem." -The article angered Beethoven, as is evidenced by his marginal glosses -on the copy of the journal which he read, now in the possession of Dr. -Prieger in Bonn. The glosses are two in number: "Oh, you arch ass!" and -"Double ass!" Such a disposition of an attack on the artistic honor of -his friend did not suffice Stadler. He published a defence of Mozart -("_Vertheidigung der Echtheit des Mozartschen Requiems_") and sent a -copy to Beethoven, who acknowledged it thus: - - On the 6th of Feby., 1826. - - Respected and venerable Sir: - - You have done a really good deed in securing justice for the - _manes_ of Mozart by your truly exemplary and exhaustive essay, - and lay and _profane_, all who are musical or can in anywise be - accounted so must give you thanks. - - It requires either nothing or much for one like Herr W. to bring - such a subject on the carpet. - - When it is also considered that to the best of my knowledge such - an one has written a treatise on composition and yet tries to - attribute such passages as - - [Illustration] - - to Mozart, and adds to it such passages as - - [Illustration: Agnus Dei peccata mundi] - - and - - [Illustration: qui tollis peccata qui tollis peccata] - - we are reminded by Herr W's amazing knowledge of harmony and melody - of the old and dead Imperial Composers Sterkel, ...... (illegible), - Kalkbrenner (the father), Andre (_nicht der gar Andere_) etc. - - _Requiescat in pace._--I thank you in especial, my honored friend, - for the happiness which you have given me in sending me your essay. - I have always counted myself among the greatest admirers of Mozart - and will remain such till my last breath. - - Reverend Sir, _your blessing soon_.[151] - -The concluding supplication recalls an anecdote related by Castelli -in his memoirs: Beethoven and Abbe Stadler once met at Steiner's. -About to depart, Beethoven kneeled before the Abbe and said: "Reverend -Sir, give me your blessing." Stadler, not at all embarrassed, made the -sign of the cross over the kneeling man and, as if mumbling a prayer, -said: "Hilft's nix, schadt's nix" ("If it does no good, 'twill do no -harm"). Beethoven thereupon kissed his hand amid the laughter of the -bystanders. Jahn heard the same story from Fischoff.[152] - -A remark in a Conversation Book of 1826 indicates that Stadler had -urged Beethoven to write a mass. Holz says: "If Stadler tells you to -write a mass it is certain that something will be done for it. He -knows best of anybody which way the wind blows.--He has Dietrichstein -and Eybler in his pocket.--You are well cared for if Stadler favors -it." The conversations of Holz also provide a fleeting glimpse of -Schubert in this year. Holz tells Beethoven that he had seen the young -composer with either Artaria or Mosel (the allusion is vague) and that -the two were reading a Handel score together. "He (Schubert) was very -amiable and thanked me for the pleasure which Mylord's [Schuppanzigh's] -Quartets gave him; he was always present.--He has a great gift for -songs.--Do you know the 'Erlking'? He spoke very mystically, always." - -[Sidenote: BEETHOVEN AND FRIEDRICH WIECK] - -Friedrich Wieck, father of Clara Schumann, spent three hours with -Beethoven in May, having been presented by Andreas Stein, the -pianoforte maker. He told about the visit long afterward in a letter -to his second wife which was reprinted in the "Signale" No. 57, in -December, 1873, from the "Dresdener Nachrichten." Beethoven gave his -guest wine (to which Wieck was not accustomed), improvised for him -over an hour and talked voluminously about - - musical conditions in Leipsic--Rochlitz--Schicht--Gewandhaus--his - housekeeper--his many lodgings, none of which suited him--his - promenades--Hietzing--Schoenbrunn--his brother--various stupid - people in Vienna--aristocracy--democracy--revolution--Napoleon-- - Mara--Catalani--Malibran--Fodor--the excellent Italian singers - Lablache, Donzelli, Rubini and others, the perfection of Italian - opera (German opera could never be so perfect because of the - language and because the Germans did not learn to sing as - beautifully as the Italians)--my views on pianoforte playing-- - Archduke Rudolph--Fuchs in Vienna, at the time a famous musical - personality--my improved method of pianoforte teaching, etc. - -Wieck says the meeting was in Hietzing, and that Beethoven played upon -the pianoforte "presented to him by the city of London"--three obvious -mistakes, since Beethoven was not in Hietzing in May, but in Vienna, -and the Broadwood pianoforte, which was not presented to him by the -city of London but by Thomas Broadwood, was in the hands of Graf for -repairs in May. - -After Karl's attempt to end his ill-spent life, with its crushing -effect upon the composer, the friends, Holz in particular, made many -efforts to divert Beethoven's mind from his disappointment and grief. -They accompanied him on brief excursions into the country which he -loved so passionately and which had been closed to him, for the -customary happy season, by his nephew's act. Again did his brother -offer him a haven at Gneixendorf in August, only to receive the curt -answer: "I will not come. Your brother??????!!!! Ludwig." His nephew -was lying in the hospital. He could not leave him then nor did he go -until it had become necessary to find an asylum for Karl as well as -a resting-place for himself. His brother came to the city late in -September; it was necessary that Karl should remain out of Vienna -until he could join a regiment of soldiery, and so Beethoven accepted -Johann's renewed invitation to make a sojourn at Gneixendorf. Meanwhile -he was far from idle. He had begun a new quartet, in F major, and -Schlesinger, _pere_, who had come from Berlin, negotiated with him -for its publication. He had the new finale for the B-flat Quartet -on his mind and, as will appear later, several other works occupied -him. With Schlesinger he talked about the Complete Edition and some -military marches which the King of Prussia was to pay for, as they were -to be written for the Royal Band. The chief obstacle to Beethoven's -acceptance of his brother's repeated invitations to visit him at -Gneixendorf came from the presence there of the brother's wife. Her -scandalous conduct had begotten an intense hatred in Beethoven's mind. -Urged on by his brother, Johann had once planned to put her away, but -there was an obstacle in the shape of a marriage contract, which gave -her half of his property, and though she was willing to surrender -the contract at one time, she was not content to be turned out upon -the world with neither character nor means of subsistence. Besides, -Johann was loath to take the drastic methods which alone were open to -him. He was inclined, much to the indignation of his brother, to be -complaisant; he needed a housekeeper and for that she would serve. -"I go my way and let her go hers," he said, and he told his brother -when trying to persuade him to spend his summers, perhaps eventually -all his time, at Gneixendorf, that he need pay no heed whatever to -his sister-in-law. Much of the ill-feeling was due to the fact that -Beethoven wanted to insure his brother's fortune for Karl. The nephew -did eventually become his sole heir and inherited 42,000 florins from -him. - -[Sidenote: BEETHOVEN AT GNEIXENDORF] - -On September 28, Beethoven and his nephew left Vienna for Gneixendorf, -intending to stay a week. A night was passed at a village _en route_, -and Johann's estate was reached in the afternoon of the next day--the -29th--but not too late for the composer to walk through the fields -with his brother to take a look at the property. The next day the -walk was extended to the vineyards on the hill in the forenoon and -to Imbach in the afternoon. There Karl pointed out to his uncle some -historical monuments: "This is the cloister where Margarethe, Ottocar's -wife, died; the scene occurs in Grillparzer's piece." Thus, with other -excursions the next day, life at Gneixendorf began. [153] Gneixendorf -is a little village on a high plateau of the Danube Valley about an -hour's walk from Krems. It is a mean hamlet, with only one street and -that narrow, rough and dirty. The houses are low huts. Wasserhof, -as the place is now called, the Beethoven estate, lies opposite the -village and is reached by a wagon road which runs a large part of the -way along the edge of a ravine, which torrents have cut out of the -clayey soil. The plateau is almost treeless but covered with fields -and vines. In Beethoven's time there were two houses on the estate, -both large and handsome, each with its garden and surrounding wall. The -houses were separated from each other by a road. A generation after -Beethoven had been a visitor there the gardens were found neglected -and the trees which surrounded the house, a two-storey structure -strongly built of stone with a covering of mortar, shut out a view of -the surrounding country.[154] Beethoven's rooms were on the east side, -and unless the trees interfered the composer had a magnificent view of -the Danubian valley stretching to the distant Styrian mountains. Johann -van Beethoven's possessions compassed nearly 400 acres, most of which -he leased to tenants. A lover of hills and forests like Beethoven must -have found Wasserhof dreary and monotonous in the extreme, yet the -distant view of the Danube seems to have compensated him in a measure, -for it reminded him of the Rhine. - -Gerhard von Breuning gives a distressful account of Beethoven's -reception and treatment at Gneixendorf. It is, indeed, too distressful -to be implicitly accepted as true, nor are all his accusations against -Johann borne out by the evidence of the Conversation Books and -other indubitable facts. If the account in Breuning's book "Aus dem -Schwarzspanierhause" were literally true, we should have to picture to -ourselves Beethoven, arrived at his brother's place, being assigned -rooms which were unfit for occupation in the cold, wet November weather -which ensued, denied facilities for proper heating, having fire-wood -stingily doled out to him, compelled to eat miserable food and forced -to be content with too little even of that, and three days after his -arrival informed that he would be expected to pay for his board and -lodging. One would think while reading the account that Johann van -Beethoven, who had been offering hospitalities to his brother for -years, had done so only to make money out of him and had at last -succeeded in his design by taking advantage of the overwhelming -sorrow which had come upon him.[155] Beethoven is said to have made -complaints in the nature of von Breuning's accusations in a letter -written from Gneixendorf to Stephan von Breuning, and also to have -given expression to his feelings at being obliged to submit to the -repulsive companionship of his brother's wife and step-daughter. The -letter is lost and was not printed by Breuning's son in proof of the -charges; but if it had been it would not be conclusive in the minds -of dispassionate judges. Against it there would lie the evidences of -the brother's numerous acts of helpfulness, the many instances of -Beethoven's unreasonable suspicion and unjust judgment and, above -all, the testimony of the Conversation Books. As to the matter of an -insufficient supply of fire-wood, there is a remark of Karl's, made -after a return to Vienna is already in contemplation: "As regards -expenses, wood is so cheap that it is inconceivable that your brother -should be at any considerable cost, for you can heat a long time with -a cord and he is already overpaid." Long before when Johann had been -trying in vain to induce him to come to Gneixendorf for the summer he -rebukes him for his unwillingness to accept his hospitality gratis. -Once during the sojourn he says explicitly: "You do not need money -here"; and at another time: "If you want to live with us you can have -everything for 40 florins Convention money a month, which makes only -500 florins for a whole year," and again: "You will need only half of -your pension" and "I will charge nothing for the first fortnight; I -would do more if I were not so hard-pressed with taxes." Beethoven had -planned at the outset to stay only a week, just long enough for the -scar on Karl's head to disappear sufficiently to make him presentable -to his commanding officer. Instead, the visit lasted two months and -Johann was short of money. He had still two payments to make on the -purchase-money for the estate, and collections were not good. - -Beethoven was sick when he went to Gneixendorf. He had not recovered -from his illness of the early months of the year when Karl attempted to -kill himself, and this was not calculated to improve the physical or -mental condition of so nervous and irritable a being as he. On October -7, eight days after his arrival in Gneixendorf, he wrote a letter from -a sickbed and Breuning, to whom it was sent, who knew his physical -condition well, remarked that he was in danger of becoming seriously -ill, possibly dropsical. Nothing was more natural than that his letters -should be full of complaints, some of which might well be measurably -founded on fact without convicting his brother of inhumanity. He had -never been a comfortable or considerate guest or tenant at the best, -and his adaptability to circumstances was certainly not promoted by -the repugnance which he felt towards his sister-in-law and his want of -honest affection for his brother. - -[Sidenote: ANECDOTES OF A RURAL SOJOURN] - -Concerning his life in Gneixendorf, a number of interesting details -were told in an article entitled "Beethoven in Gneixendorf," published -in the "Deutsche Musikzeitung" in 1862,[156] some of which are worth -reciting again. One day Johann went to Langenfeld and Beethoven and -other people from Gneixendorf went with him. The purpose was to visit a -surgeon named Karrer, a friend of the brother. The surgeon was absent -on a sick-call, but his wife, flattered by a visit from the landowner, -entertained him lavishly. Noticing a man who held himself aloof from -the company, sitting silently on the bench behind the stove, and -taking him for one of her guest's servants, she filled a little jug -with native wine and handed it to him with the remark: "He shall also -have a drink." When the surgeon returned home late at night and heard -an account of the incident he exclaimed: "My dear wife, what have you -done? The greatest composer of the century was in our house to-day and -you treated him with such disrespect!" - -Johann had occasion to visit the syndic Sterz in Langenlois on a -matter of business. Beethoven accompanied him. The conference lasted a -considerable time, during all of which Beethoven stood motionless at -the door of the official's office. At the leavetaking Sterz bowed often -and low to the stranger, and after he was gone asked his clerk, named -Fux, an enthusiastic lover of music, especially of Beethoven's; "Who do -you think the man was who stood by the door?" Fux replied: "Considering -that you, Mr. Syndic, treated him with such politeness, his may be -an exceptional case; otherwise I should take him for an imbecile -(_Trottel_)." The consternation of the clerk may be imagined when told -the name of the man whom he had taken for an idiot. - -Johann's wife had assigned Michael Krenn, son of one of her husband's -vinedressers, to look after Beethoven's wants. At first the cook had to -make up Beethoven's bed. One day, while the woman was thus occupied, -Beethoven sat at a table gesticulating with his hands, beating time -with his feet, muttering and singing. The woman burst into a laugh, -which Beethoven observed. He drove her out of the room instanter. -Krenn tried to follow her, but Beethoven drew him back, gave him three -20-kreutzer pieces, told him not to be afraid, and said that hereafter -he should make the bed and clean the floor every day. Krenn said that -he was told to come to the room early, but generally had to knock a -long time before Beethoven opened the door. It was Beethoven's custom -to get up at half-past 5 o'clock, seat himself at a table and write -while he beat time with hands and feet and sang. This frequently -stirred Krenn's risibles, and when he could no longer restrain his -laughter he used to leave the room. Gradually he grew accustomed to -it. The family breakfast was eaten at half-past 7 o'clock, after which -Beethoven hurried out into the open air, rambled across the fields -shouting and waving his arms, sometimes walking very rapidly, sometimes -very slowly and stopping at times to write in a sort of pocketbook. -This book he once lost and said: "Michael, run about and hunt my -writings; I must have them again at any cost." Michael luckily found -them. At half-past 12 Beethoven would come home for dinner, after which -he went to his room until about 3 o'clock; then he roamed over the -fields until shortly before sunset, after which he never went out of -doors. Supper was at half-past 7, and after eating he went to his room, -wrote till 10 o'clock and then went to bed. Occasionally Beethoven -played the pianoforte, which did not stand in his room but in the -salon. Nobody was permitted to enter his rooms except Michael, who had -to put them in order while Beethoven was out walking. In doing so he -several times found money on the floor, and when he carried it to its -owner, Beethoven made him show him where he had picked it up and then -gave it to him. This happened three or four times, after which no more -money was found. In the evening Michael had to sit with Beethoven and -write down answers to questions which he asked. Generally Beethoven -wanted to know what had been said about him at dinner and supper. - -One day the wife of the landowner sent Michael to Stein with 5 florins -to buy wine and a fish; but Michael was careless and lost the money. -He came back to Gneixendorf in consternation. As soon as Madame van -Beethoven saw him she asked for the fish, and when he told her of the -loss she discharged him from her service. When Beethoven came into -dinner he asked at once for his servant and the lady told him what had -happened. Beethoven grew fearfully excited, gave her 5 florins, and -angrily demanded that Michael be called back at once. After that he -never went to table any more but had his dinner and supper brought to -his rooms, where Michael had to prepare breakfast for him. Even before -this occurrence Beethoven scarcely ever spoke to his sister-in-law -and seldom to his brother. Beethoven wanted to take Michael with him -to Vienna, but when a cook came to call for the composer the plan was -abandoned. - -[Sidenote: BEETHOVEN SCARES A YOKE OF OXEN] - -Two old peasants told the owner of Wasserhof in 1862 stories which -confirm Krenn's account of Beethoven's unusual behavior in the fields. -Because of his unaccountable actions they at first took him for a -madman and kept out of his way. When they had become accustomed to his -singularities and learned that he was a brother of the landlord they -used to greet him politely; but he, always lost in thought, seldom if -ever returned their greetings. One of these peasants, a young man at -the time, had an adventure with Beethoven of a most comical nature. He -was driving a pair of young oxen, scarcely broken to the yoke, from the -tile-kiln toward the manor-house when he met Beethoven shouting and -waving his arms about in wild gesticulations. The peasant called to -him: _A bissel stada!_ ("A little quieter") but he paid no attention -to the request. The oxen took fright, ran down a steep hill and the -peasant had great difficulty in bringing them to a stand, turning them -and getting them back on the road. Again Beethoven came towards them, -still shouting and gesticulating. The yokel called to him a second -time, but in vain; and now the oxen rushed towards the house, where -they were stopped by one of the men employed there. When the driver -came up and asked who the fool was who had scared his oxen the man told -him it was the proprietor's brother. "A pretty brother, that he is!" -was the answering comment. - -On October 7 Beethoven answered the letter which he had received many -months before from Wegeler. He wrote a long letter in the cordial and -intimate tone which is to be found only in the correspondence with -persons to whom he was bound by ties of affectionate friendship, but -made no reference to Karl. On the subject of his paternity he wrote: - - You write that I am written down somewhere as a natural son of the - deceased king of Prussia; this was mentioned to me long ago. I have - made it a principle never to write anything about myself nor to - reply to anything written about me. For this reason I gladly leave - it to you to make known to the world the honesty of my parents, and - my mother in particular. - -He tells with pride of the gift from the King of France, of other -distinctions which he had received, and of King Frederick William's -desire to have the autograph of his new Symphony for the Royal Library, -and adds: "Something has been said to me in this connection about the -order of the Red Eagle, second class.[157] What the outcome will be I -do not know; I have never sought for such marks of honor, but at my -present age they would not be unwelcome, for several reasons." - -On October 13 he wrote a merry letter to Haslinger, whom he addresses -in music as "First of all Tobiasses," asking him to deliver a quartet -(the one in F major published as Op. 135) to Schlesinger's agent and -collect and forward the money, of which he stands in need. On the same -day he wrote to Schott and Sons enclosing the metronome marks for the -Ninth Symphony which the Conversation Book shows had been dictated to -Karl before the departure from Vienna. That he was not as grievously -disappointed by his surroundings at Gneixendorf as might have been -expected is evidenced by the remark: "The scenes among which I am -sojourning remind me somewhat of the Rhine country which I so greatly -long to see again, having left them in my youth." - -[Sidenote: WORKS WRITTEN AT GNEIXENDORF] - -The Quartet in F was completed at Gneixendorf. Beethoven sent it to -Schlesinger's agent on October 30, and had probably put the finishing -touches on it about the time when he wrote to Haslinger about its -delivery a fortnight before. Schlesinger had agreed to pay 80 ducats -for it. It had been in hand four months at least, for in July he told -Holz that he intended to write another quartet and when Holz asked, "In -what key?" and was told, he remarked, "But that will be the third in -F. There is none in D minor. It is singular that there is none among -Haydn's in A minor." If there were positive evidence in the "Muss es -sein?" incident, a still earlier date would have to be set for its -origin, but here we are left to conjecture. There was considerable -merry-making over the Dembscher joke, and it is at least probable that -the first sketches for the Quartet and the Canon were written about the -same time. The point which cannot be definitely determined is whether -or not the motif of the Canon was destined from the first for the -finale of the Quartet. It may have been in Beethoven's mind for that -purpose and the sudden inspiration on hearing the story of Dembscher's -query "Muss es sein?" may have gone only to the words and the use of -them with the music for the Canon. That the Quartet was to be shorter -than the others was known before Beethoven left Vienna. Holz once says -to Beethoven before the departure that Schlesinger had asked about it -and that he had replied that Beethoven was at work upon it, and added: -"You will not publish it if it is short. Even if it should have only -three movements it would still be a quartet by Beethoven, and it would -not cost so much to print it."[158] - -The new finale for the Quartet in B-flat was also completed in -Gneixendorf, though it, too, had been worked out almost to a conclusion -in Vienna. It was delivered on November 25 to Artaria, who gave him 15 -ducats for it. Schuppanzigh gave it a private performance in December -and told Beethoven that the company thought it _koestlich_ and that -Artaria was overjoyed when he heard it. There were other compositions -on which Beethoven worked in Gneixendorf when he compelled laughter -from the cook and frightened the peasant's oxen. At Diabelli's request -he had said that he would write a quintet with flute. Sketches for a -quintet have been found, showing that the work was in a considerable -state of forwardness, but in them there are no signs of a flute. Holz -told Jahn that the first movement of a quintet in C for strings which -Diabelli had bought for 100 ducats was finished in the composer's -head and the first page written out. In the catalogue of Beethoven's -posthumous effects No. 173 was "Fragment of a new Violin Quintet, -of November, 1826, last work of the composer," which was officially -valued at 10 florins. It was bought by Diabelli at the auction sale -and published in pianoforte arrangements, two and four hands, with the -title: "Ludwig van Beethoven's last Musical Thought, after the original -manuscript of November, 1826," and the remark: "Sketch of the Quintet -which the publishers, A. Diabelli and Co., commissioned Beethoven to -write and purchased from his relics with proprietary rights." The -published work is a short movement in C in two divisions, having a -broad theme of a festal character, _Andante maestoso_ and Polonaise -rhythm. The autograph having disappeared it can not now be said how -much of the piece was actually written out by Beethoven. Nottebohm -shows ("Zweit. Beeth.," p. 79 _et seq._) that the sketches for the -quintet were written after Beethoven had begun to make a fair copy of -the last movement of the B-flat Quartet. Lenz, in volume V of his work -on Beethoven (p. 219), tells a story derived from Holz to the effect -that when Beethoven sent him the last movement of the B-flat Quartet -with injunctions to collect 12 ducats from Artaria, he accompanied -it with a Canon on the words "Here is the work; get me the money" -(_Hier ist das Werk, schafft mir das Geld_). According to a report -circulated in Vienna in 1889, a copy of this Canon was purchased from -Holz's son for the Beethoven Collection in Heiligenstadt. The lines and -notes were described as having been written by Beethoven, the words: -_Hier ist das Werk, sorgt fuer das Geld--1, 2, 3, 4, 5, 6, 7, 8, 9, -10, 11, 12 Dukaten_, by Holz to Beethoven's dictation. The story is -not altogether convincing. The movement was completed in Gneixendorf -and Artaria received and paid for it in November. He paid 15, not 12, -ducats; and it is not patent how Beethoven in Gneixendorf could dictate -to Holz in Vienna. He did not return to Vienna till December 2. There -are references to other works in the Conversation Books which are not -clear. In January Mathias Artaria writes: "I hear of six fugues.--We -will empty a bottle of champagne in their honor." Holz asks: "Is it -true that you sold a rondo to Dominik Artaria which he has not yet -received? It is said that you took it back and have not returned -it."--It is possible that the Rondo Caprice which was published by -Diabelli as Op. 129, the history of which is a blank, is the work -alluded to; but there is no evidence on the subject. - -FOOTNOTES: - -[147] Halm's personal explanation to Mr. Thayer. - -[148] The Editor has taken the liberty of transferring the music to -the treble clef and to interpret the notes which are indistinct in the -autograph in accordance with Dr. Deiters's transcript. - -[149] It would scarcely be worth while to review the acrimonious -controversy on this subject. There were errors and misunderstandings -growing out of faulty memories and imperfect records. Mr. Thayer made -a painstaking study of the subject and secured all the available -correspondence from Prince George Galitzin and from other sources -in 1861. His resume as given in Grove's "Dictionary of Music and -Musicians" (Art. "Galitzin") doubtless sets forth the fact of -indebtedness and payment correctly. He says: "These (the last two -Quartets) were received by the Prince together and were acknowledged -by him Nov. 22, 1826. He also received a MS. copy of the Mass in D and -printed copies of the Ninth Symphony and of the two overtures in C, the -one (Op. 124) dedicated to him, the other (Op. 115) dedicated to Count -Radzivill. Thus the whole claim against him was--Quartets 150 ducats; -Overture (Op. 115), 25 ducats; Mass, 50 ducats; loss on exchange, 4 -ducats; total 229 ducats, not including various other pieces of music -sent. On the other hand he appears, notwithstanding all his promises, -to have paid, up to the time of Beethoven's death, only 104 ducats. -It should be said that in 1826, war and insurrection had broken out -in Russia, which occupied the Prince and obliged him to live away -from Petersburg, and also put him to embarrassing expenses. After the -peace of Adrianople, (Sept. 14, 1829) when Beethoven had been dead -some years a correspondence was opened with him by Hotschevar, Karl -van Beethoven's guardian, which resulted in 1832 in a further payment -of 50 ducats, making a total of 154. Karl still urges his claim for -75 more to make up the 150 ducats for the Quartets, which Galitzin in -1835 promises to pay but never does. In 1852, roused by Schindler's -statement of the affair (ed. I. pp. 162, 163), he writes to the -_Gazette musicale_ of July 21, 1852, a letter stating correctly the -sum paid but incorrectly laying it all to the account of the Quartets. -Other letters passed between him and Karl Beethoven, but they are not -essential to the elucidation of the transaction." - -To this the present editor adds a bit of history derived chiefly from -Mr. Thayer's papers. In the course of time Schindler's partly erroneous -statement that the debt which Galitzin owed Beethoven at the time -of his death was all on account of the quartets was magnified into -the statement made by Heinrich Doering and Brendel that the Prince -had "cheated" the composer out of the fee for the Quartets. Prince -Nicolas Galitzin had withdrawn to his distant estates in Russia, but -at his instigation the cudgels were taken up in his behalf by his son -Prince George, who, stirred into indignation by Doering's biography -in particular, sent that writer the following letter: "I can not and -do not want to know anything of the past, all the less since it will -certainly not be expected of me to contradict the proofs produced by -him (his father). But as by the publication of your article you have -made the question for me one of the day, I, as a man of honor must do -my duty to put an end to these misunderstandings. I have deposited -the sum of 125 ducats which you bring in question with Mr. Kaskel, -banker in Dresden, for the heirs of Beethoven, and from you, my dear -Sir, I expect the necessary information in this matter, since you must -have acquainted yourself with the necessary facts while writing your -notice. You must admit that hereafter I reserve the right to treat -this question as a personal one! In case the family of Beethoven has -died out there will be no other disposition of the money deposited -with Banker Kaskel than to pay it over to a charity or some other -cause which may be directly associated with the name and works of the -famous artist. Dresden, July 15-3, 1858." Karl van Beethoven, sole -heir of the composer, had died three months previously, leaving a -widow and children, who were his heirs. Prince George's money seemed -like a gift of Providence to the widow, who hastened, as soon as she -read the letter in a musical journal, to write to Holz as the friend -of the dead composer to collect the money for her and express her -gratitude to Prince George. Holz complied with part of her request -in a letter full of obsequiousness in which he accused Schindler of -scandalmongering and offered to provide the Prince with evidence of -that gentleman's rascality. But he did not collect the money, which -lay still untouched in the vaults of Kaskel in 1861, when Madame van -Beethoven, having made a vain application to Prince George, addressed -a letter to Kaskel asking whether the money was still deposited with -him or had been withdrawn by Prince George. In the latter event she -stated that she wanted to contradict a statement circulating by the -public press that the heirs of Beethoven had received the gift. Kaskel -referred her to Ad. Reichel, a musical director in Dresden and a friend -of the Prince, through whom, indeed, the deposit had been made. On -April 28, 1861, she wrote to Reichel, reviewing the facts in the case -and stating her desire to apply the money, in case it was given to -her, to the musical education of her youngest daughter, Hermine van -Beethoven, then 8 years of age. Kaskel also wrote to Reichel, sending -him Madame van Beethoven's letter and saying that as he had not heard -anything from Prince Galitzin for several years he intended to turn the -money over to the Municipal Court of Dresden in order to spare himself -all further correspondence in the matter. Kaskel wrote to the Prince on -May 7, 1861, asking him to prescribe a disposition of the money, for, -if Kaskel carried out his determination to send it to the court, it -would be frittered away. He urged that the money be given to Madame van -Beethoven. This revival of interest in the subject was evidently due -to Mr. Thayer's activity in behalf of the widow and her daughter. Mr. -Thayer was in London in 1860 and evidently took up the matter with the -Prince. He makes no mention of the subject in his notice written for -Grove's "Dictionary"; but among his letters the present writer found -the following letter, evidently written on the eve of his departure -from England in February, 1861: - -"Dear Mr. Thayer. Prince Galitzin has asked me to remit to you the -enclosed letters, praying you kindly to act for him in the affair, as -you will soon be on the spot. He begs you, however, to bear in mind the -necessity off proving that the money for these Quartets has not been -paid (I fear an impossibility!); but however vexatious this may be to -poor Mad. v. B. everyone must defer to the obstacle to her having the -money: in the awkward light in which it places the Prince's father. -From what I can gather from his conversation he will be most satisfied -to have the money appropriated for the purpose you suggested: the M. S. -S. At all events Prince G. is quite content to leave the matter in your -hands. Wishing you a pleasant journey and speedy return, believe me, -dear Mr. Thayer, Yours sincerly Natalia Macfarren." - -The editor's efforts to learn the ultimate disposition of the money -deposited with Kaskel have been in vain. Mr. Thayer's papers contain -no hint of the steps which may have been taken after Mrs. Macfarren's -appeal to Prince George; the banking house of Kaskel is gone out -of existence; Nephew Karl's daughter, Hermine, is dead. For three -years, from 1866 to 1869, she was a student in the pianoforte and -harmonium classes of the Conservatory at Vienna, and it seems likely -that Mr. Thayer succeeded in having the Dresden deposit applied to her -education; but if so he left no memorandum of that fact amongst the -papers which have come under the editor's eyes. - -[150] Under the agreement it was to be the exclusive property of the -Philharmonic Society for a year and a half. - -[151] This interesting letter is now owned by Dwight Newman of Chicago. - -[152] Though there is no authority for doing so it seems impossible not -to associate the following three-part canon, which may be found in the -B. and H. Complete Edition, with this amusing anecdote: - -[Illustration: - - Signor Abbate! io sono, io sono, io sono ammalato! - (Signor Abbate! I'm ailing, I'm ailing, I'm ailing, I am ailing! - - Santo Padre vieni e datemi la benedizione, la benedizione. - Holy Father! hasten, hasten to me, hasten to me, hasten, and give - me thy blessing! - - Hol' Sie der Teufel, wenn Sie nicht kommen, hol' Sie der Teufel, - wenn Sie nicht kommen, hol' Sie der Teufel! - Go to the devil, unless you hasten, go to the devil, unless you - hasten, go to the devil!) -] - - -[153] "The name is something like the breaking of an axletree," wrote -Beethoven to Haslinger in October. - -[154] The description is based on that made by Thayer when he visited -Gneixendorf in 1860. - -[155] The romancing biographers who copy Schindler and Gerhard von -Breuning in their accusations that Johann van Beethoven was prompted -only by the meanest motives of self-interest in all his dealings -with his great brother will have a difficult task to explain away -the evidence to the contrary afforded by the Conversation Books. The -proposition that the two make a common home in Vienna had come from -Ludwig and been urged by him. After Johann had acquired the estate -at Gneixendorf he made repeated efforts to persuade his brother to -spend his summer vacation there. In 1823 Beethoven wrote: "He always -wants me to come to his people--_non possibile per me_." The obstacle -was Johann's wife, who had become one of "his people" because of the -composer's interference with Johann's private affairs at Linz. Urged on -by Ludwig, Johann had taken action against the woman and made himself -master of his household. In a Conversation Book of 1824 may be read -in Johann's hand: "My wife has surrendered her marriage contract and -entered into an obligation permitting me to drive her away without -notice at the first new acquaintance which she makes." Beethoven seems -to have asked, "Why do you not do it!" for Johann continues: "I cannot -do that. I cannot know but that some misfortune might befall me." Then -Karl takes the pencil: "Your brother proposes that you spend the four -months at his place. You would have 4 or 5 rooms, very beautiful, -high and large. Everything is well arranged; you will find fowls, -oxen, cows, hares, etc. Moreover, as regards the wife, she is looked -upon as a housekeeper only and will not disturb you. The scenery is -glorious and it will not cost you a penny. There is a housekeeper; -water containing iron, an individual bathroom, etc. If you do not take -it he will give up five rooms and announce the fact in the newspapers." -Beethoven, obviously, brings forward his objection to Johann's wife, -for Karl writes: "That matter has come to an end. You will scarcely see -the woman. She looks after the housekeeping and works. All the more -since she is completely tamed. Besides, she has promised to conduct -herself properly." Other matters are discussed and then Johann writes: -"It looks to me as if you did not want to come because it will not -cost you anything. Who will look after our household affairs? Who will -endure our humors?" In another book Karl writes that Johann had often -said that his brother could have everything for nothing at Gneixendorf. - -[156] Page 77 _et seq._ The article was based largely on information -gathered by Mr. Thayer at Gneixendorf in 1860 and had been submitted to -him for revision. - -[157] Third class is what is talked about in the Conversation Books. - -[158] Holz told Jahn that Schlesinger had bought it for 80 ducats and -sent 360 florins in payment; whereupon Beethoven had said "If a Jew -sends circumcised ducats he shall have a circumcised Quartet. That's -the reason it is so short." - - - - -Chapter IX - - Karl van Beethoven--A Wayward Ward and an Unwise - Guardian--Beethoven and His Nephew--An Ill-advised Foster-father - and a Graceless, Profligate Nephew--Effect on Beethoven's - Character of the Guardianship--An Unsuccessful Attempt at - Self-destruction--Karl is Made a Soldier. - - -We are now to learn of the calamitous consequences of Beethoven's -effort to be a foster-father to the son of his dead brother Kaspar. The -tale is one that has been fruitful of fiction in most of the writings -which have dealt with the life-history of the great composer; nor is -the circumstance to be wondered at. There is still some obscurity -in the story, and if there is anything in the melancholy lot of the -great man, next to his supreme affliction, calculated to challenge -the pity of the world, it is the manner in which his efforts to -attach to himself the one human being for whom he felt affection were -requited. There is no more pitiful picture in the history of great men -than that presented by his devotion to the lad in whom, for a reason -which must have seemed to him more inscrutable than his own physical -calamity, he could not inspire a spark of love or a scintilla of -gratitude. It was an unwise devotion and an ill-directed effort, but -that does not alter the case. From the beginning, all of his friends -recognized Beethoven's unfitness for the office of guardian of his -nephew. He was incapacitated for it by his occupation, his irregular -mode of life, his lack of understanding of a child's nature, his -irresolute mind, his infirmities of temper, and the wretchedness of -his domestic surroundings due to his ignorance of and indifference to -the things essential to the amenities and comforts of social life. -He did not assume the guardianship in a spirit of gentle obedience -to a dying brother's request; he violently wrested it unto himself -alone in defiance of that brother's last entreaties. There can be no -doubt but that he believed that in doing so he was performing a pious -duty toward his own flesh and blood and acting for the good of the -child and the welfare of the community. He was proud of the boy's -intellectual gifts, which were out of the ordinary; he dreamed of -seeing him great and respected in the eyes of the world; he wanted -loving companionship now, and in his old age; he hungered for sympathy -and for help which would not keep him in bonds of obligation to -men whose disinterestedness he could not understand because of his -suspicious disposition; he desired to see by his side and in his kin -an incarnation of that polite learning and that practical knowledge -of worldly affairs which had been denied to him. All his aims were -laudable, all his desires natural and praiseworthy; but he was the last -man in the world to know how to attain them. There can be no doubt -that his stubborn insistence upon making himself the sole director -of the welfare of his ward cost him the sympathy, perhaps also the -respect and regard, of many of those whose counsel he was perforce -compelled to seek. For a long time until the final and woeful trial -came it separated him from the oldest and truest friend that he had -in Vienna--Stephan von Breuning. It tested the patience and tried the -forbearance of those who helped him in his mistaken zeal. - -[Sidenote: BEETHOVEN'S MORAL NATURE MARRED] - -Moreover, it may be said without harshness or injustice to his memory -that its consequences to his own moral nature were most deplorable. In -a mind and heart prone to equity and tenderness it developed a strange -capacity for cruel injustice. Aided by his native irresolution it -twisted his judgment and turned his conduct into paradox. To satisfy -his own love for the boy he strove fiercely to stifle a child's natural -affection for its mother. He thought that love for himself would grow -out of hatred of the woman, though the passion which he tried to -evoke was abhorrent to every instinct of nature. It matters not that -the mother of Karl was profligate and lewd. Once a glimmer of that -fact dawned upon him. It was while he was struggling to prevent all -intercourse between the widow and her child in the early years that -he was compelled to admit that to a child under all circumstances a -mother is a mother still; but he made the confession to extenuate the -conduct of the boy, not to justify the solicitude of the woman. His -memory of his own mother, the sweet, patient sufferer of Bonn, was -to him like a benison his whole life long. "Who was happier than I -when I could still speak the sweet word 'mother' and have it heard," -he wrote to Dr. Schade, who had helped him on his sorrowful journey -from Vienna to Bonn in 1787. But from the time that his brother Kaspar -died until he himself gave up the ghost he was unswervingly occupied -in preventing communication between Kaspar's widow and her son. After -more than twelve years he found that what he had tried to eradicate -in the child, still lived in the youth. He had fought against nature -and failed; and the failure filled him with bitterness, added to his -hatred of the woman and his disappointment with the son. Such intensity -of malevolence, though it may have had its origin in the profoundest -conviction of virtuous purpose, could not fail to be prejudicial to -his own moral character. So, also, his solicitude for his ward's -material welfare, which extended to a time when he should no longer -be able to make provision for him, seems to have warped his nature. -It weakened his pride; distorted his moral view; subjected him, not -always unjustly, to accusation of dishonesty in his dealings with his -patrons and publishers; made him parsimonious, and at the last brought -upon him the reproach of having begged alms of his English friends, -though possessed of property which might easily and quickly have been -converted into money to supply his last needs more than generously. - -To protect him against indictment for these moral flaws, many of -Beethoven's biographers thought, and still think, it necessary or -justifiable to veil the truth and magnify the transgressions of his -kindred and friends. His earliest apologists may have had other -reasons besides these for so doing; his present biographers have -none. By his own decree the world is entitled to know the truth. -Schindler was embittered against Holz; Holz against Schindler; both -against Johann van Beethoven, the brother; Beethoven himself taught -his nephew to despise his uncle Johann as well as Schindler; and all -three--Schindler, Holz and Johann--commissioned to that end, reported -their observations of the lad's shortcomings to his guardian. He -accepted everything they said against the boy as he did everything -they said against each other; indeed, his suspicious nature made him -prone to believe evil of everyone near to him; and we do not know of a -certainty that their reports were always within the bounds of strict -veracity. After the tragedy they were unanimous in condemnation of -the misguided, wayward, wicked youth and in praise of Beethoven's -magnanimity and self-sacrifice; but the evidence of helpful advice, -warning and admonition to the mariner who was sailing a craft on a sea -full of dangers to which nature had made him blind is not plentiful. -Holz was young. He had scarcely finished sowing his own wild oats, and -he seems to have been more lenient in his judgment than his elders, -though just as convinced of the dangers into which the young man was -running during the fateful last two years; but the few practical -suggestions which we find him making do not seem to have been accepted. -He was himself, like everybody else, under suspicion in Beethoven's -mind. - -Concerning the details of the always disgraceful and at the end -tragical conduct of Beethoven's nephew much obscurity is left after the -most painstaking study of the evidence to be found in the contemporary -documents which have been preserved; but it is to these documents -that appeal must be made if the truth is to be learned, not to the -generalizations of romancing biographers. Twenty-nine letters written -by Beethoven to the youth came into the hands of Beethoven after the -attempt at suicide and through Schindler into the Royal Library at -Berlin. However they may be viewed, they are a pathetic monument. They -are a deeply affecting memorial of his almost idolatrous love for one -wholly unworthy to receive it; but they also help measurably to explain -why Beethoven defeated his own benevolent intentions. In them the -paradoxes in his nature are piled one on top of the other. Alternately -they breathe tender affection, gentle admonition and violent -accusation; pride in the lad's mental gifts, hope for his future, and -loathing of his conduct; proclamations of his own self-sacrificing -devotion set off against his ward's ingratitude; pleadings that the boy -love him and hate his mother; proud condemnation and piteous prayers -for forgiveness; petitions for the boy's reformation and promises of -betterment in his own conduct. They give out the light in which the -story must be told, though they contribute but little to the record -of concrete facts. They leave us to conjecture and surmise as to many -of the nephew's motives and actual doings. It is from the pages of -the Conversation Books of 1825 and 1826 that practically all of the -attested truth concerning the happenings, their causes and effects, -must be learned. Letters and these records of conversations are at the -base of the following recital.[159] - -[Sidenote: STUDY BECOMES IRKSOME TO KARL] - -Karl was taken from his studies at the Bloechlinger Institute in the -fall of 1823 and matriculated at the University of Vienna, where he -pursued studies in philology from that time until the summer of 1825. -Though his gifts were unquestioned and his attainments such as to make -Beethoven eager to exploit them, he was not an industrious student. -He seems to have experienced a desire to abandon the career which his -uncle wished him to follow--that of a professor of languages, no -doubt--before he had sat under the university lectures a year. His -zeal for study soon evaporated, he spent much time in idle amusements, -neglected to visit his uncle with the regularity expected from him, -and soon broached the subject of a change in his intended pursuits. -As early as 1824 he expressed a desire to enter the army. The thought -was little short of appalling to Beethoven, who was obliged, however, -at last to listen to arguments in favor of a mercantile career. Karl -pointed out that a bookkeeper earned a great deal more money than a -professor, that trade was honorable, and that he intended to keep on -with his study of the languages, especially Greek, for his own pleasure -and intellectual profit. Meanwhile he had continued his attendance on -the lectures at the university, and it was not until towards the end -of the Easter semester of 1825 that Beethoven consented to the change, -entered him in the Polytechnic Institute, and arranged to have the -vice-director of the Institute, Dr. Reisser, appointed co-guardian in -place of Peters, with whom he took counsel as he also did, in great -likelihood, with Stephan von Breuning. There were two great admirers -of Beethoven's music in the Institute, Reisser and Dr. Ignaz von -Sonnleithner, one of the teachers, and after Karl had been placed -under the supervision of a government official named Schlemmer, who -lived in the Alleegasse adjacent to the Karlskirche, with whom the lad -took lodgings, all seemed again to be well. He entered the Institute -about Easter, 1825, and, if his own statements are to be accepted -(Dr. Reisser, too, makes favorable reports of him), he made a good -beginning in his new studies. His Sundays and holidays during the -ensuing summer were spent with his uncle at Baden, where he was kept -at work, too assiduously perhaps, writing Beethoven's letters, and -filling numerous other commissions. But his zeal did not endure. He -became negligent in his studies; work became irksome and the pleasures -of the city alluring. He was drawn willingly into the maelstrom of -Viennese life. He grew fond of billiards, dancing and the theatre; -he kept low company. Of all this there can be no doubt. Beethoven -kept himself informed as to his conduct through Holz, through his -brother, and sometimes went to Vienna himself to make inquiries. When -Karl comes to Baden, Beethoven charges him with his shortcomings and -there are unseemly scenes between the two. At first Karl seeks to be -conciliatory, but it is only too plain that he is not always frank and -truthful in his replies. The chronological course of events as learned -from the Conversation Books cannot be set down with exactitude; nor -is it necessary that it should. A young rake's progress can easily -be imagined, but some incidents may be included in this narrative, as -showing the changing attitude of guardian and ward, uncle and nephew, -toward each other, and some of the steps which led to the final -catastrophe. - -At an early date in this period Beethoven had become suspicious of -the character of some of Karl's associates, particularly of a lad -of his own age named Niemetz, whose acquaintance, it was said, he -made at his mother's. Whether or not this is true cannot be proved; -but if Beethoven believed it that fact sufficed to convince him of -the young man's moral turpitude. Certain it is that the mother knew -Niemetz and thought as well of him as the uncle thought ill, for one -of her exclamations after the attempt at self-destruction, reported -to Beethoven, was, "What will good Niemetz say!" Beethoven forbade -the association and a violent quarrel ensued in Baden, where Karl -introduced his friend to his uncle. It seems likely that the encounter -took place in a public room and that Beethoven could not wait until -he had reached the privacy of his lodgings before expressing his -dissatisfaction with the young man; for his remarks to Karl as well as -the latter's replies are written in the book. Beethoven's denunciations -stir up a spirit of defiance in his ward; he finally declares flatly -that Niemetz had cheered his unhappy hours at Bloechlinger's and that he -would not now lie by saying that he would cease loving his friend or -admit that he had a bad character. - -[Sidenote: BEETHOVEN PLEADS WITH HIS NEPHEW] - -Beethoven learns that Karl goes to the theatre, has been seen in the -company of lewd women, frequents dancing places, plays billiards and -borrows money. Holz, who once suggests the advisability of assuming -the co-guardianship, thinks it might be a good thing could he attach -the young man to himself by becoming his often companion. He invites -him to a beerhouse to learn his drinking habits and reports favorably -upon them. He talks with Karl about the theatre and advises him to -go less to the Josephstadt playhouse and oftener to the Burg, where -classical pieces are played; and learning that Karl attends the former -because it costs him nothing, ventures the statement that his uncle -will allow him money for the theatre if he will but go to the better -place. Beethoven's views on the subject are expressed in a letter: -"Let the theatre alone for the present." After the wicked deed, Holz -reminded Beethoven that Johann van Beethoven had said that Karl knew -every strumpet in Vienna and that investigation had disclosed that he -was right. Karl goes to dances; Beethoven is so solicitous as to their -character that he expressed a desire to go to some of them with Holz so -as to learn what they are like, and Holz dissuades him on the ground -that he would be stared at and it would cause public comment; but he -offers to take him to a hall "of the reformed" in the Apollo Room, -where he would be less observed. Beethoven fears that Karl's passion -for billiards will lead him astray, and Holz says he will sometime go -with the lad to see how well he plays and thus learn whether or not -he plays much.[160] Karl is now nearly 20 years old, but Beethoven -does not, or will not, know that he is no longer to be disciplined as -a child. He commands Schlemmer that he is not to be permitted to go -out at night except on written permission signed by him. He exhausts -Dr. Reisser's patience with his frequent calls to learn of the young -man's habits and conduct. He takes upon himself the task of the -ancient pedagogue and waits for him upon the steps of the Institute to -accompany him home. His illness and melancholy, due to his solitary -life in Baden, increase and he is haunted by premonitions of death. In -a Conversation Book he once writes what seems to be the title of an -imaginary composition "On the Death of Beethoven." On June 9, 1825, he -writes to Karl: "You know how I live here. To this is added the cold -weather. This solitude weakens me still more, for my weakness really -often borders on a swoon. O, do not pain me more! The man with the -scythe will not give me much more time." In the same summer: "God will -set me free from them. _Libera me domine de illis etc._" and "God be -with you and me. It will soon be all over with your faithful father." -His loneliness oppresses him more and more as fears for his nephew's -fate and recognition of his own impotency to avert it pursue him. "God -has never deserted me. Somebody will be found who will close my eyes," -he writes on September 14. Tenderness and reproach alternate in the -letters written from Baden in the summer of 1825. With the young man's -habits of extravagance he has no patience whatever. He insists on a -strict accounting for every florin which he allows him and is enraged -when he hears that Karl has not forgotten his boyish trick of borrowing -from the servants. He contrasts his own habits of thrift with the -prodigence of his ward: "I should have gotten along two years with the -walking-coat. True, I have the bad habit of always wearing an old coat -at home, but Mr. Karl--O, what a shame! And why? The money-bag Mr. L. -v. B-n is here only for this purpose." - -The thought of laying down the guardianship occupies his mind over and -over again and his friends without exception urge him to do it; but he -clings to the office, hoping against hope for his nephew's reclamation. -Crises of apprehension and foreboding produce tender appeals and -piteous expostulations like these: - - If you find me violent, ascribe it to my great concern for - yourself, beset as you are by many dangers. - - I hope at least to receive a letter from you to-morrow. Do not make - me fear. O, think of my sufferings! By good right I ought to have - no cares of this kind; but what have I not experienced! - - Reflect that I am sitting here and might easily fall ill. - - God is my witness, I dreamed only of being rid of you and of this - miserable brother and the hideous family which he foisted upon me. - God hear my prayer for I can _never_ trust you again. Unfortunately - your father--or rather, not your father. - -In the beginning of October, 1825, Karl absented himself from his -lodgings for several days. Where he went and what he did is a secret -held by the dead; but repentance of some sort, or consideration of the -fact that he was dependent upon his uncle, seems to have persuaded him -to write to Beethoven and beg his forgiveness. On the 5th of the month -Beethoven wrote from Baden: - - Precious, dear son! - - I have just received your letter. Already filled with anxiety I had - to-day determined to hurry to Vienna. God be thanked, it is not - necessary. Do but obey me and love and happiness of the soul paired - with human happiness will be at our side and you will consort an - intensive existence with the external, but it were better that the - _former_ dominate the _latter_.--_il fait trop froid_--I am to see - you on Saturday, then, write whether you are coming in the morning - or evening so that I may hasten to meet you.--I embrace you and - kiss you a thousand times not my _lost_ (prodigal) _but my new-born - son_. I wrote to Schlemmer--do not think harshly on that account--I - am still so full of fear. - -The letter has been mutilated and the remainder is unintelligible, all -but a request in bad French for matches. But his impatience to see the -returned prodigal was stronger than his purpose to wait for him in -Baden. He went to Vienna and evidently sent the following letter from -Karl's lodgings: - - My precious son: - - Go no further--Come but to my arms, not a harsh word shall you - hear. O God, do not rush to destruction.... You shall be received - lovingly as ever. What to consider, what to do in the future--this - we will talk over affectionately. On my word of honor no - reproaches, since they would in no case do good now. Henceforth you - may expect from me only the most loving care and help. Do but come. - Come to the faithful heart of your father. - - Beethoven. - - _Volti sub._ - - Come home at once on getting this. - - _Si vous ne viendres pas rous me tueres surement lises la lettre et - restes a la maison chez vous, venes de m'embrasser votre pere vous - vraiment adonne soyes assures, que tout cela restera entre nous._ - - (On the margin): Only for God's sake come back home to-day. It - might bring you, who knows what danger. Hurry, hurry! - -[Sidenote: THE NEPHEW RESENTS DISCIPLINE] - -In the summer of 1826, Beethoven's plans with reference to the -supervision of his nephew are divided between an abandonment of the -guardianship and taking the young man back into his own lodgings. The -latter alternative at least did not meet with Karl's approval, who -pleads against it the great loss of time in coming and going to the -distant Institute; besides, he says, "it is only one year more and -then there will be no more separation." With such feigned expressions -of gentle feeling, with smiles and occasional cajolings, Karl had -learned that he could at any time bend "the old fool," as he once -called him in a letter to Niemetz, to his wishes. The fact is that -Beethoven's attempts at discipline had long ago become irksome to his -nephew and his authority a burden which it was pleasant to forget in -the opportunities which freedom brought. He absents himself more and -more from Beethoven's lodgings and spends less and less time at his -own. The "miserable brother" is told by Beethoven to find out why, -and reports the result of a talk which he had upon the subject with -Karl, who had replied, in effect: the reason he did not come oftener -was that he dreaded the noisy encounters which always followed and the -continual reminders of past transgressions. Also the turbulent scenes -between his uncle and the servants. Johann takes occasion to tell his -brother that he might win the young man to him by a different mode of -treatment. He is apprehensive of the consequences of idleness and urges -that as soon as Karl completes his studies at the Institute, a place -be found for him in either a local or foreign business house. "In the -latter case," he continues, "place the guardianship in Bach's hands. -You are as little able as I to run after him always." Beethoven's -concern is so great that he is willing to take counsel of Schindler, -whom he had so unsparingly and, we believe, unjustly denounced to his -nephew. Schindler is ready with advice, but first takes advantage of -the opportunity to air his grudge against Holz: "do not depend upon him -in this matter," he says in a recorded conversation. Karl's requests -for money excite his guardian's misgivings and he demands to see the -receipts for tuition fees and other expenditures. The growing feeling -between guardian and ward, and some of its causes, are reflected in -the record of a conversation at Karl's lodgings in 1826, when the -crisis is rapidly approaching. It is Karl who speaks, but the tenor of -Beethoven's utterances is easily to be surmised: - - You consider it insolence if, after you have upbraided me for hours - undeservedly, this time at least, I cannot turn from my bitter - feeling of pain to jocularity. I am not so frivolous as you think. - I can assure you that since the _attack_ on me in the presence of - this fellow I have been so depressed that the people in the house - observed it. The receipt for the 80 florins which were paid in May - I now positively know, after a search at home, I gave you; it must - and no doubt will be found. If I continue to work while you are - here it is not in a spirit of insolence, but because I believe that - you will not be offended if I do not permit your presence to keep - me from my labors, which are now really piling up on me--all the - more since we see each other _here_, where there is time, enough to - talk over all needful things. You are mistaken, too, when you think - that I wait for your coming to _become industrious_. You also seem - to accept as _my views_ what I repeat to you as the opinions of - others as, for instance, the word of Haslinger and the twaddle of - Frau Passy. I know very well what to think of such gossip, but did - not consider it my duty to inform you about it. I hope that what I - have said will serve to convince you of my real views and feelings - and put an end to the strain which has existed of late between us, - though not on my side by any means. - -This is not the speech of filial love and obedience, but neither is -it the language of a naughty child. There ought to be no doubt but -that such exhibitions of independence and resentment, coupled with -intimations of still greater independence of conduct, frequently -filled Beethoven with consternation and apprehension. Once, to judge -of a recorded remark by Holz, Karl seems to have raised his hand in -physical violence against the uncle. Holz says: "I came in just as -he took you by the breast. At the door, as he was coming out." It is -the only allusion to the incident in the book and we know none of the -particulars; but it and other scenes of tumult and the utterances which -they provoked must have inspired the dreadful conflict of emotions -which finds expression in a letter written at this time: - - If for no other reason than that you obeyed me, at least, all - is forgiven and forgotten; more to-day by word of mouth, very - quietly--Do not think of me otherwise than as governed wholly by - thoughts for your well-being, and from this point of view judge my - acts. Do not take a step which might make you unhappy and shorten - _my_ life. I did not get asleep until 3 o'clock, for I coughed all - night long. I embrace you cordially and am convinced that you will - soon cease longer to _misjudge_ me; it is thus that I also judge of - your conduct yesterday. I expect you surely to-day at 1 o'clock. - Do not give me cause for further worry and apprehension. Meanwhile - farewell! - - Your real and true Father. - - We shall be alone, for which reason I shall not permit H. to - come--the less since I do not wish anything about yesterday to be - known. - - Do come--Do not permit _my poor heart to bleed longer_. - -[Sidenote: BEETHOVEN GROWS APPREHENSIVE] - -A poor heart, indeed! One that knew not how to win the love for which -it hungered; and a mind "perplex'd in the extreme." That love still -went out to the unworthy mother in spite of entreaties, warnings, -lamentations, threats. In May, 1826, already at Baden, Beethoven hears -that Karl has again visited her; and on the 22nd he writes: - - Till now only suspicions, although I have received assurances from - one that there is again secret intercourse between you and your - mother. Am I again to experience the most abominable ingratitude?! - No; if the bond is broken, be it so. You will make yourself hated - by all impartial persons who hear of this ingratitude.... I ought - not to mix into these miserable affairs. If the pact oppresses you - then in God's name--I leave you to Divine Providence. I have done - my duty and am ready to appear before the Supreme Judge. Do not - fear to come to me to-morrow. As yet I only suspect--God grant that - _nothing_ be true, for your misfortune would truly be incalculable - indifferently as the rascally brother and possibly your--mother - would take it. - -Late in July, 1826, an intimation of some desperate purpose formed -and expressed by the nephew was carried to Beethoven. The date is -uncertain, but it was probably on Saturday, the 29th. The intention may -have been self-destruction, but it needed to be no more than a purpose -to go out into the world, beyond an irksome supervision, to fill -Beethoven's soul with a terrible fear. He called Holz and together they -went to Schlemmer's house in the Alleegasse. Schlemmer told all he knew -in a few phrases which must have seemed shrouded with a pall as they -fell upon the page of his book: - - I learned to-day that your nephew intended to shoot himself before - next Sunday at the latest. As to the cause I learned only this - much, that it was by reason of his debts,--but not of a certainty; - he admitted only in part that they were the consequences of former - sins. I looked to see if there were signs of preparations. I found - a loaded pistol in a chest together with bullets and powder. I tell - you this so that you may act in the case as his father. The pistol - is in my keeping. Be lenient with him or he will despair. - -Holz went at once to the Polytechnic Institute and there found Karl, -who agreed to go back with him to Schlemmer's, but said that he must -first go to a friend's house and get some papers. Holz engaged Dr. -Reisser in conversation while he waited for Karl to return. "A pistol!" -remarked Reisser, "the young comedy hero!" But Karl had lied; he did -not come back to the Institute and Holz returned to Beethoven with his -story: - - He will not stay here. I could not detain him. He said he would go - to Schlemmer's, but wanted to get his papers from a friend while I - talked with Reisser. He would not be gone more than a quarter of an - hour. - -Beethoven apparently rebukes him for letting his ward out of his sight. -Holz: - - He would have run away from you just the same. If he has made up - his mind to injure himself no one can prevent him. He has till - September 3 to make up his examinations.... He said to me: "What - good will it do you to detain me? If I do not escape to-day I will - at another time." - -Schlemmer reported the finding of another pistol. A new suspicion -seized upon the mind of Beethoven. For some reason, though he may -also have uttered it orally, he wrote it down in the book: "He will -drown himself." Probably he did not want the bystanders to know his -thoughts, and the fear was therefore committed to the written page -for the instruction of Holz. What else was said at the time we do not -know, for the book here shows a mutilation; some pages are missing. -Perhaps Schindler removed them in later years to save the integrity of -his account; or they may have been torn out by Beethoven himself when, -some weeks later, Holz advised him to look through his books against -their possible demand for examination by the police magistrate; they -might contain references to affairs which he did not want to bring -into public discussion. The missing pages might have helped us in the -chronology of the story, but the main facts are before us without them. -It was resolved first to go to the house of Niemetz, who it was thought -might be privy to Karl's intentions, and then if necessary, to call in -the help of the police. - -[Sidenote: A BUNGLING ATTEMPT AT SUICIDE] - -Meanwhile Karl, having given Holz the slip, went straight to a -pawnbroker and pledged his watch. With the money he bought two pistols, -powder and balls. He did not dare go to his lodgings for the pistols -which he had in readiness for the contemplated deed, and the new ones -were therefore necessary. For him the circumstance proved fortunate. He -drove out to Baden, and spent the night in writing letters. One was to -his uncle, and this he enclosed in one to his friend Niemetz. The next -morning, it being a Sunday, he climbed up to the ruins of Rauhenstein, -in the lovely Helenenthal which his uncle loved so well, and there -discharged both pistols toward his left temple. He was a bungler with -firearms. The first bullet flew past harmlessly; the second ripped -up the flesh and grazed the bone, but did not penetrate the skull. -Holz said afterwards that, had he taken with him the pistols which he -was obliged to leave at his lodgings, he would have been a dead man; -their barrels were charged with powder and ball to above the middle. -A teamster came upon him lying among the ruins and, no doubt at his -request, carried him to his mother's house in the city. There Beethoven -found him, whether in a search for him or because of intelligence -brought by the teamster is not clear. The uncle is anxious to learn the -particulars of the tragedy, but he receives a sullen answer; "It is -done. Now, only a surgeon who can hold his tongue. Smetana, if he is -here. Do not plague me with reproaches and lamentations; it is past. -Later all matters may be adjusted." "When did it happen?" Beethoven -asks and the mother writes the answer: "He has just come. The teamster -carried him down from a rock in Baden and has just driven out to -you.--I beg of you to tell the surgeon not to make a report or they -will take him away from here at once, and we fear the worst. There is a -bullet in his head on the left side." - -Smetana was the physician who had treated Karl when he was a boy at -Giannatasio's school. Beethoven knew him as a friend. To him he wrote: - - A great misfortune has happened to Karl accidentally by his own - hand. I hope that he can yet be saved, especially by you if you - come quickly. Karl has a _bullet_ in his head, how, you shall - learn--only quick, for God's sake, quick! - - In order to save time it was necessary to take him to his mother's, - where he now is--the address follows. - -Holz took this letter for delivery but before he left the place a -surgeon named Doegl had been called in. Smetana said that Doegl was a -capable practitioner and that in order not to compromise him he would -not come unless Doegl desired to see him in consultation. Karl expressed -himself as satisfied and the case was left for the time being in Doegl's -hands. Beethoven went home, but Holz remained some time longer. The -matter had to be reported to the police and Holz thought it best to -do this himself, as he wanted to be able to inform Beethoven what the -consequences of the young man's act were likely to be in case of his -recovery. He learned, and so reported, that there would be a severe -reprimand and thereafter police surveillance. He told Beethoven that, -after he had left him, Karl had said, "If he would only not show -himself again!" and "If he would only quit his reproaches!" He had -also threatened to tear the bandage from the wound if another word was -spoken to him about his uncle. - -On August 7th, the day being a Monday,[161] the wounded youth, who by -his act was fallen into the hands of the law, was removed from his -mother's house to the general hospital by the police authorities. -The deed was committed on a Sunday, as appears from parts of the -conversations which took place between Holz and Beethoven after the -fact was known. Holz says: "He left me yesterday, went straight into -the city, bought the pistols and drove to Baden"; and later: "He sold -his watch on Saturday and with the proceeds bought two new pistols." -The obvious conclusion would seem to be that Karl shot himself on -Sunday, August 6; but there is evidence pointing to an earlier date. -The police authorities were not informed until somewhat late in the -day. An investigation had to be made and formalities complied with -before the removal to the hospital could take place. Schlemmer, in -reply to a question touching Karl's indebtedness while Beethoven and -Holz were probing for a cause, said that he had been paid "for this -month, but not for August," which indicates that the inquiry was made -in July. On September 11th, discussing the disposition to be made of -the nephew when he should leave the hospital and trying to persuade -Beethoven to grant Karl's request that he be permitted to visit his -mother, Holz says: "In my opinion _one_ day will make no difference, -inasmuch as she was with him whole days after the shooting." There are, -besides, evidences that conversations were held for several days during -which he was in the care of his mother. It is therefore probable that -the nephew made the attempt upon his life on Sunday, July 30. Schindler -says "in August" without giving a specific date. The evidence is not -entirely conclusive; but if Beethoven consented to leave the would-be -suicide in the hands of his mother for an entire week it was most -likely because the police authorities commanded it; he did not yield -her a day after her son came out of the hospital. At first, however, -Beethoven's spirit was broken by the awful blow and he may have been -more pliant than usual. Holz, reporting to Beethoven, tells of an -interview at the hospital when he met the woman at her son's bedside. -"If you have anything on your mind," she enjoined, "tell your uncle -now. You see, this is the time; he is weak, and now he will surely do -anything you want." Karl replied, sullenly: "I know nothing." "How," -Holz explains to Beethoven, "can any one find out a single trace so -long as he persists in remaining silent?" And he tells his friend of -the lack of "mercy" in the weeping mother for denouncing the conduct of -the guardian of her son! - -No doubt the blow was a crushing one to Beethoven. On the fateful -Sunday, or the day after, he met the wife of Stephan von Breuning and -told her the tragical story. "And is he dead?" she inquired in tender -solicitude. "No," was the answer, "it was a glancing shot; he lives -and there is hope that he will be saved. But the disgrace which he has -brought upon me! And I loved him so!" The occurrence was soon noised -about the city and much sympathy was expressed for Beethoven, as Holz -took occasion to inform him. Schindler says that the blow bowed the -proud figure of the composer and he soon looked like a man of seventy. -To add to his sufferings he was compelled to learn that many persons -placed part of the blame for the rash act upon him. Karl was placed -in the "men's three-florin" ward, which was under the care of a Dr. -Gassner. He had an assistant named Dr. Seng, who told Gerhard von -Breuning long after, how Beethoven had come to visit his nephew and -described him as a "dissolute fellow" and "rascal," one "who did not -deserve to be visited" and had been "spoiled by kindness." - -[Sidenote: REASONS FOR THE DEED] - -Strenuous efforts were made by Beethoven through Holz and others to -discover what direct cause had led the misguided young man to attempt -to end his life. The inquiries made of him at the hospital during the -weeks spent there brought scarcely more information from his lips -than the first question asked by his mother. Schindler seems to have -been persuaded that it was his failure to pass his examinations at -the Polytechnic Institute; but this theory is not tenable. Aside from -the fact that he had time till September 3 to make up his neglected -studies, he never himself advanced this as an excuse or explanation, -but explicitly denied it. In the hospital he told Holz that it would -have been easy for him to make himself fit to pass, but that, having -made up his mind to do away with himself long before, he had not -thought it worth while to continue his studies. "He said that he -was tired of life," Holz reports to Beethoven, "because he saw in -it something different from what you wisely and righteously could -approve." He also phrased it thus: "Weariness of imprisonment." To the -examining police magistrate Karl said that his reason for shooting -himself was that Beethoven "tormented him too much," and also "I grew -worse because my uncle wanted me to be better." To Beethoven's question -if Karl had railed against him, Schlemmer replied: "He did not rail, -but he complained that he always had trouble." Holz's explanation many -years after to Otto Jahn was that Beethoven was "rigorous to excess -in his treatment and would not allow him the slightest extravagance." -The chief cause, in greatest probability, was that he had hopelessly -involved himself in debts by a dissolute life. Schindler told Beethoven -that he not only played billiards but played with low persons, coachmen -and the like; and that he did not always play honestly. There is a -memorandum in a Conversation Book which discloses that Beethoven -received specific reports about his conduct, and noted them for -reference: "One night in the Prater.--2 nights did not sleep at home." -Beethoven stinted him the matter of pocket-money, and the scores of -reckonings in the Conversation Books show how close was the watch -kept upon every kreutzer placed in his hands. So he had recourse to -borrowing and no doubt, though the fact does not appear plainly in -the books, he went into debt at the places which he frequented for -pleasure. When he shot himself he had paid his lodging bill for the -month but owed his tutor. A matter which gave Beethoven great concern -was the discovery that he had disposed of some of the composer's books -at an antiquary's. This was theft, a penal offence, and Beethoven seems -to have been in great trepidation lest the fact, and something more -dreadful still which he did not know, be discovered by the magistrate -charged with an examination into the case. Under the Austrian code an -attempt at suicide seems to have been an offence against the Church -and guilty persons were remanded in the care of priests who imparted -religious instruction until a profession of conversion could be -recorded. In the case of Karl, this medicine for the mind and soul -was administered by a Redemptorist, and, the Liguorian penances being -proverbially strict, Holz inspired the hope in Beethoven that Karl's -secret would be discovered by the priest. "These Liguorians are like -leeches," is one of his remarks to the composer while Karl is lying at -the hospital. It is pathetic to note that Beethoven himself, willing -as he was to charge his nephew with prevarication, extravagance, -deception and frivolity, yet sought an explanation for the act outside -of these delinquencies. In his hand appears a note in a Conversation -Book: "Mental aberration and insanity; the heat, too--afflicted with -headaches since childhood." - -[Sidenote: PLANNING A MILITARY LIFE FOR KARL] - -Immediately after Karl's removal to the hospital Holz visited him and -made a long report to Beethoven, from which it appears that there -was no delay in considering plans for the future. In fact, a prompt -decision was necessary, for it was the penal aspect of the case which -had the greatest terrors for Beethoven. Holz says: "Here you see -ingratitude as clear as the sun! Why do you want further to restrain -him? Once with the military, he will be under the strictest discipline, -and if you want to do anything more for him you need only make him a -small allowance monthly. A soldier at once.... Do you still doubt? This -is a marvellous document." The last remark may have been called out, -indeed, it seems more than probable that it was, by the letter written -by the nephew on the eve of his attempt--a letter which has never been -found. Holz also urges: "Resign the guardianship; this will make an -impression on him." Beethoven must now needs listen to upbraidings -because of his lenient treatment of his ward: "If your good nature had -not so often got the better of your firmness you would have driven him -away long ago"; but Beethoven still hungers for the ingrate's love. He -asks about his feelings towards himself. Holz answers: "He said it was -not hatred of you which he felt, but something entirely different"; and -then he puts the question: "Did he mean fear?" - -The day after the deed, Stephan von Breuning, himself unable to come, -sent Gerhard to his friend with a message: his parents wanted him to -take his meals with them so as not to be alone. Then Breuning comes, -and now he will receive advice on the advisability of a military life -from one fitted to give it, for von Breuning is a court councillor in -the war department. "A military life will be the best discipline for -one who cannot endure freedom; and it will teach him how to live on -little," is one of Breuning's first utterances. - -Holz continues his visits to the hospital and his reports. His help was -now invaluable and he gave it unselfishly and ungrudgingly, winning -that measure of gratitude from Beethoven which found expression in the -letter empowering him to write his biography. He tells Beethoven that -Karl receives visits from four physicians four times a day. That the -magistrate is investigating the case and will send a priest to give the -patient religious instruction, and that his release from the hands of -the police authorities must wait upon his "complete conversion"; but -so long as there is danger of too much mental strain this instruction -will not be given. At ease in his mind touching the physical condition -of his ward, Beethoven is kept in a state of anxiety about the inquiry, -which is so protracted as to excite his apprehension that something -awful may be disclosed. He wants to go himself to see the "Minister" -(of Police, evidently) and dreads the ordeal of examination. "The court -will not annoy you," Holz, tells him; "the mother and Karl at the -worst." - -Dr. Bach joined Breuning, Schindler and Holz in advising Beethoven to -resign the guardianship; but while the other three favored placing -Karl in the army, Bach urged that he be sent off at once to some -business house in Trieste, Milan or Hamburg without waiting for him -to make up his studies and pass the examination which seems necessary -to Beethoven. "Away with him from Vienna!" is the general cry, but -Beethoven hesitates; he still thinks that he must keep his ward -under his eye. In the Conversation Book he writes: "I wanted only to -accomplish his good; if he is abandoned now, something might happen." -Meanwhile von Breuning in pursuance of his plan consulted Baron von -Stutterheim and persuaded him to give the young man a cadetship in -his regiment, and on September 11 Breuning is able to communicate -the success of his efforts to Beethoven who, as soon as he began to -consider the military proposition at all, had thought of his old -friend, General von Ertmann, the husband of his "Dorothea-Caecilia." -But the project failed, and Breuning carried the day for his plan and -agreed to accept the guardianship which had been laid down by Reisser. -The Court Councillor goes at matters in a practical way; he brings to -Beethoven von Stutterheim's advice as to the allowance: he must not -give more than 12 florins in silver a month, as that was all that the -richest cadet in the service received. - -Karl was unwilling to see his uncle, and Beethoven knew it. The latter -wrote to his nephew, however, and the affectionate tenor of the letters -met with the disapproval of both Holz and Schindler. Beethoven hoped -with them to win back his nephew's love, but his advisers told him -they would do no good. He seems to have thought it necessary to learn -Karl's opinion before consenting to von Breuning's plan. He visited -Karl at the hospital, who, after asking his uncle to say as little as -possible about that which was past alteration, said that a military -life was the one in which he could be most satisfied and that he was -entirely capable of making a firm resolve and adhering to it. As a -cadet, promotion would be open to him. Beethoven, in planning to keep -the young man in Vienna, had suggested to his advisers that the mother -might be sent away--to Pressburg or Pesth. After it had been fixed that -Karl should enter the army as soon as possible after his discharge from -the hospital, the question arose as to what disposition should be made -of him in the interim. Beethoven was unalterably opposed to his being -with his mother even for a day. In an interview he brought the subject -up and began to berate her as usual; but Karl interrupted him: - -[Sidenote: A SON DEFENDS HIS MOTHER] - - I do not want to hear anything derogatory to her; it is not for - me to be her judge. If I were to spend the little time for which - I shall be here with her it would be only a small return for all - that she has suffered on my account. Nothing can be said of a - harmful influence on me even if it should happen, if for no other - reason than the brevity of the time. In no event shall I treat her - with greater coldness than has been the case heretofore ... let be - said what will.... (He tells his uncle that his mother will offer - no objection to his new calling.) All the less, therefore, can I - deny her wish to be with me now, as I shall in all likelihood not - be here again soon. It is self-evident that this will not prevent - you and me from seeing each other as often as you wish. - -Very reluctantly Beethoven gave his consent that his nephew should -become a soldier, and he continued his solicitude for him, as is -disclosed by letters to Holz and von Breuning. His first thought was -to send him to a military institute and have him graduated as an -officer. This proved impracticable. Now he lays down three conditions -as to the cadetship: he must not be treated as a culprit, not be -compelled to live so meanly as to preclude his advancement, not be too -much restricted as to food and drink. The plans for this disposition -were made. He was to be presented to von Stutterheim as soon as he -was discharged from the hospital, take the oath of service the next -day, and leave Vienna for Iglau, where von Stutterheim's regiment was -stationed, within five or six days. He was discharged as cured on -September 25. Breuning, who had assumed the guardianship, now found -himself confronted by a serious embarrassment. Where should the young -man be sent while the preparations for his entry into the military -service were making? Karl did not want to go to his uncle's, nor did -von Breuning want to send him there, and frankly tells Beethoven his -reason: "If he were here you would talk to him too much and that would -cause new irritation; for he testified in the police court that the -reason why he had taken the step was because you harassed him too -much." Beethoven feared that the magistrate might allow him to go to -his mother's, and to guard against this he wrote two letters to that -official, a man kindly disposed toward him, named Czapka. In the first -he wrote: - - I earnestly beg of you, since my nephew will be well in a few days, - to direct that he be not permitted to leave the hospital with - anybody but me and Mr. v. Holz. It must not possibly be allowed - that he be near his mother, this utterly depraved person. Her bad - and wickedly malicious character, the belief that she often tempted - Karl to lure money from me, the probability that she divided - sums with him and was also in the confidence of Karl's dissolute - companion, the notice which she attracts with her illegitimate - daughter, the likelihood that at his m--'s he would make the - acquaintance of women who are anything but virtuous, justify my - solicitude and my request. Even the mere habit of being in the - company of such a person cannot possibly lead a young man to - virtue. - -In a second letter he suggests that the magistrate admonish the -young man and give him to understand that he will be under police -surveillance while he is with his uncle. Beethoven's brother was again -in Vienna. He had repeated his offer to give the composer a temporary -home and his nephew a harbor of refuge at Gneixendorf; but haste -was imperative, both on account of his business affairs and Karl's -status. In three days the business of finishing the corrections in -the manuscript copy of the Ninth Symphony which was to be sent to the -King of Prussia, placing it in the hands of Haslinger, who was to have -it bound, and writing the letter to the King, was disposed of and on -September 28 the two brothers and their nephew set out for Gneixendorf. - -FOOTNOTES: - -[159] Beethoven's letters to his nephew are presented in the original -in Vol. V of Thayer's biography as completed by Dr. Deiters and revised -by Dr. Riemann. Also copious extracts from the Conversation Books. -These books, in Thayer's transcript, have been consulted anew by the -present writer in his presentation of the case which he believes to -be in the spirit of Thayer, as he tried also to make the account -of the legal controversy over the guardianship. Nevertheless, the -editor believes it only right to assume full responsibility for his -utterances. The letters may be found in translation in Vol. II of Mr. -Shedlock's edition of the Kalischer collection. - -[160] It was Herbert Spencer who remarked to a young man who had beaten -him at billiards that while to be able to play well was a praiseworthy -accomplishment, such playing as he had just witnessed betokened an -ill-spent life. - -[161] The date was obtained by Thayer from the records of the hospital -on September 22, 1862. F. Helm, then Director of the hospital, -certified to the facts of reception, treatment and discharge, but -stated that no history of the case could be found in the records. - - - - -Chapter X - - The Last Days in Gneixendorf--A Brother's Warning--Beethoven - and his Kinspeople--The Fateful Journey to - Vienna--Sickness--Schindler's Disingenuousness--Conduct of the - Physicians--Death and Burial. - - -The Conversation Books add nothing to the picturesque side of the -account of Beethoven's sojourn in Gneixendorf as it has been drawn from -other sources. They indicate that there were some days of peace and -tranquility, and that not only Johann, but his wife and nephew also, -were concerned with making the composer comfortable and providing him -with such diversion as place and opportunity afforded. At the outset -Beethoven seems to have been in a conciliatory mood even towards the -woman whom he so heartily despised; and her willingness to please him -is obvious. She talks with him about various things, praises Karl's -musical skill, which the nephew demonstrates by playing four-hand -marches with his great uncle. She discusses his food with him, and -if he ever was suspicious of the honesty in money matters of herself -and her family, he hides his distrust and permits her brother, the -baker, to collect money for him in Vienna, and the woman to go thither -to fetch it. There are frequent walks into the country round about -and drives to neighboring villages, and it would seem from one of -Karl's speeches that sometimes argument and warning were necessary to -dissuade Beethoven from undertaking promenades in inclement weather. -Characteristic of the suspicious nature which his dreadful malady -had developed in him to an abnormal degree, and confirmatory also -of Michael Krenn's remark that he was always called upon to give an -account of the conversations at table, is the evidence that the wife, -Karl and even a woman boarder are questioned as to the goings-out and -comings-in of the inmates of the house. Before the departure from -Gneixendorf, Karl begins to chafe under his uncle's discipline. Johann -is occupied with the affairs of the estate and Karl does errands for -him as well as his greater uncle in Krems, whither he is willing to -journey on foot as often as necessary, perhaps oftener, for there are -soldiers stationed at the village, there is a theatre, English circus -riders give an exhibition (to which Karl offers to accompany the -composer) and, what is perhaps more to the young man's liking, there -is a billiard-room. Of this fact, however, we are informed later by a -remark recorded in the Conversation Books by Johann after the return -to Vienna. The old suspicions touching the reasons for Karl's absence -from Wasserhof again arise to plague Beethoven's mind, nor are they -dissipated by Madame van Beethoven's repeated assurances that he will -return soon. It is plain that the young man is taken to task, not only -for these absences, but also for what his uncle looked upon as moody -and defiant silences when suffering rebuke. Thus we read: - - You ask me why I do not talk. Because I have enough. Yours is the - right to command; I must endure everything.... I can give no answer - as to what you say; the best I can do is to hear and remain silent, - as is my duty. - -At a later period, when Beethoven has apparently upbraided the young -man for his unwillingness to return to Vienna, Karl retorts: - - If you want to go, good; if not, good again. But I beg of you once - more not to torment me as you are doing; you might regret it, for I - can endure much, but not too much. You treated your brother in the - same way to-day without cause. You must remember that other people - are also human beings.--These everlastingly unjust reproaches!--Why - do you make such a disturbance? Will you let me go out a bit - to-day? I need recreation. I'll come again later.--I only want to - go to my room.--I am not going out, I want only to be alone for a - little while.--Will you not let me go to my room? - -[Sidenote: A RETURN TO VIENNA PRECIPITATED] - -Karl was a young man of nearly twenty years; thriftless, no doubt; -indolent, no doubt; fond of his ease and addicted to idle pleasures, -no doubt--but still a man; and no matter how much he ought to have -been willing to sacrifice himself to make his uncle happy, it is a -question if there was any way in the world to that sure and permanent -result. He was not wise enough, nor self-sacrificing enough, to do -that which not a single one of the composer's maturer friends, not -even Stephan von Breuning, had been able to do. Once in the Books he -shows a disposition to resort to the wheedling tactics which had been -frequently successful in earlier years, and urges as a reason for -tarrying longer in Gneixendorf that it will make possible their longer -companionship. He is pleading for a week's longer stay: Breuning had -said that he should not present himself to the Fieldmarshal until -no evidences of the recent "incident" were longer visible; in a week -more the scar would not be noticeable, nor would a stay be necessary -had he provided himself with pomade; then he remarks: "The longer we -are here the longer we shall be together; for when we are in Vienna -I shall, of course, have to go away soon." It was after this speech -that he made the remark already referred to about the cheapness of -fire-wood. Karl had plainly grown more than content with his life in -Gneixendorf and there is evidence to show that Beethoven had begun -to fear that he was wavering in his determination to enter the army. -Some drastic measure or occurrence was necessary to change the native -irresolution of Beethoven's mind. Schindler, in his desire to paint -all the Beethovens, with the exception of the composer, with the -blackest pigments on his imaginative palette, does not scruple to -accuse Karl of undue intimacy with his aunt and offers this as a reason -for the departure. To this no reference can be found in the pages of -the Conversation Books, unless it be a remark which preceded Karl's -outburst, last recorded. Here he tells his uncle that all his "talk -about intrigues needs no refutation." The reference is vague and it -is extremely unlikely that the intrigues meant were those involved in -the vile insinuation of Schindler, for a reason which will be made -apparent presently. The house at Gneixendorf was not fitted for tenancy -in winter; the weather was growing boisterous; Madame van Beethoven had -left the men to their own devices and gone to her town-house. This, -apparently, was the state of affairs when Johann handed a letter to his -brother which could have no other result than to bring about a decision -to go back to Vienna at the earliest possible moment, and to carry -with him a heart full of bitterness which could only be intensified by -the sufferings which attended upon his journey. The letter bears no -date, but an allusion to the fact that von Breuning had allowed Karl -a fortnight for recuperation and he had already been two months at -Gneixendorf, is proof that it was written near the end of November. -That the brothers discussed it and cognate matters while it was in -their hands is evidenced by the fact that it contains on its back the -words in Johann's writing: "Let us leave this until the day you go.--An -old woman.--She has her share and will get no more." The letter was as -follows: - - My dear Brother: - - I can not possibly remain silent concerning the future fate of - Karl. He is abandoning all activity and, grown accustomed to this - life, the longer he lives as at present, the more difficult will - it be to bring him back to work. At his departure Breuning gave - him a fortnight to recuperate in, and now it is two months. You see - from Breuning's letter that it is his decided wish that Karl _shall - hasten_ to his calling; the longer he is here the more unfortunate - will it be for him, for the harder will it be for him to get to - work, and it may be that we shall suffer harm. - - It is an infinite pity that this talented young man so wastes his - time; and on whom if not on us two will the blame be laid? for he - is still too young to direct his own course; for which reason it - is your duty, if you do not wish to be reproached by yourself and - others hereafter, to put him to work at his profession as soon as - possible. Once he is occupied it will be easy to do much for him - now and in the future; but under present conditions nothing can be - done. - - I see from his actions that he would like to remain with us, but if - he did so it would be all over with his future, and therefore this - is impossible. The longer we hesitate the more difficult will it be - for him to go away; I therefore adjure you--make up your mind, do - not permit yourself to be dissuaded by Karl. I think it ought to - be by _next Monday_, for in no event can you wait for me, inasmuch - as I cannot go away from here without money, and it will be a long - time before I collect enough to enable me to go to Vienna. - -How Beethoven received this letter must be left to the imagination. -Its wisdom temporarily disarmed Schindler, who forgot all of his -frequently wicked charges against Johann long enough to admit that -the document proved that he was not utterly without good qualities of -character. He adds that he was in a position to assert that Ludwig took -his brother's suggestion with bad grace and that before his departure -from Gneixendorf there was an exceedingly acrimonious quarrel between -the brothers, growing out of Ludwig's demand that Johann make a will -in favor of Karl, thus cutting off his wife. It is to this that the -penciled endorsement on the letter refers. This subject, Schindler -says, was the real cause of the estrangement between the brothers -during the last five or six years of Ludwig's life. The blame, he adds, -rested with Ludwig, who, "constantly at odds with himself and all the -world, loved and hated without reason." Weeks afterward, while he lay -dying in Vienna, Beethoven's thoughts were still occupied with the -purpose of persuading his brother to make a will in Karl's favor.[162] -A moment's reflection on a single fact will serve to give the quietus -to Schindler's insinuation as to improper relationship between the -young man of 19 and his aunt of 40; at the time that Karl is pleading -to stay in the country, Johann is urging his brother to send him about -his duty, and Beethoven is halting in irresolution, the woman is in -Vienna. - -[Sidenote: THE FATEFUL JOURNEY FROM GNEIXENDORF] - -It must be assumed that the Monday referred to in Johann's letter -was Monday, November 27; but several days must have elapsed between -this date and the time when Beethoven and Karl set out on the fateful -journey to Vienna. A determination seems to have been reached when -the Book shows Johann as saying: "If you are to start on Monday the -carriage must be ordered on Sunday." There is no recorded conversation -touching the use of Johann's carriage, which, so far as anything is -known to the contrary, may have still been in Vienna, whither, it is -safe to assume, it had carried Johann's wife, and whither it was to -carry its owner as soon as he could make a satisfactory adjustment -of his financial affairs. That means of conveyance were discussed is -proved by Johann's remark and also by a report made by Karl to the -composer: "There is no postchaise to Vienna, but only to St. Poelten.... -From here there is no opportunity except by a stagecoach." - -Exactly when and how the travellers set out it is not possible to -determine. Schindler says that owing to Johann's refusal to let his -brother use his closed carriage, Beethoven was obliged to make the -journey in an "open calash." This is his statement in the first edition -of the biography, but in the third, for an unexplained reason, the -"open calash" is the vehicle used from Gneixendorf to Krems only, a -distance which was easily traversed on foot inside of an hour. If Dr. -Wawruch, Beethoven's attending physician during the illness which -ended in his death, is correct, Beethoven told him that he had made -the journey "in the devil's most wretched vehicle, a milk-wagon." -Later Dr. Wawruch calls the vehicle in which he arrived in Vienna -a "Leiterwagen," from which we might gather, which is utterly -preposterous, that it was a rack vehicle. Beethoven arrived in Vienna -on Saturday, December 2, and as there is a reference to only one night -spent in transit (as there had been one on the journey from Vienna -to Gneixendorf), it is likely that he left Gneixendorf early in the -morning of Friday, December 1. "That December," says Dr. Wawruch, "was -raw, wet and frosty; Beethoven's clothing anything but adapted to the -unfriendly season of the year, and yet he was urged on by an internal -unrest and a gloomy foreboding of misfortune. He was compelled to -spend a night in a village tavern where, besides wretched shelter, he -found an unwarmed room without winter shutters. Towards midnight he -experienced his first fever-chill, a dry hacking cough accompanied by -violent thirst and cutting pains in the sides. When seized with the -fever he drank a few measures of ice-cold water and longed, helplessly, -for the first rays of the morning light. Weak and ill, he permitted -himself to be lifted into the _Leiterwagen_ and arrived, at last, -weak, exhausted and without strength, in Vienna." Wawruch derived his -information from Beethoven, possibly in part also from Karl, the only -witness from whom a succinct and absolutely correct account was to have -been expected; unhappily the tale, which Karl must have been called -upon to tell many times, was never reported. The untrustworthiness -of Schindler's statements about the incidents of which he had no -personal knowledge is emphasized by obvious efforts made to falsify and -emasculate the record in the Conversation Books, concerning which it -will soon become necessary to speak. - -[Sidenote: ONE OF SCHINDLER'S SLANDERS REFUTED] - -It was Saturday, December 2nd, 1826, then, that Beethoven arrived -in Vienna from Gneixendorf and went to his lodgings in the -Schwarzspanierhaus. It does not appear that he considered himself -seriously ill, for in a letter to Holz which must have been written -two, or more likely three, days later, he says merely that he is -"unpaesslich," that is, indisposed. The letter was the second of its -kind, the first having been mislaid. In this letter he asked Holz to -come to him. It was written from dictation, but before appending his -signature Beethoven wrote, "Finally, I add to this 'We all err, only -each in a different way'," setting the quoted words to music for a -canon. This canon, of which an autograph copy on a separate sheet -of paper is preserved in the Royal Library at Berlin, points to a -possibility that some misunderstanding had arisen between Beethoven -and Holz just before the former started for Gneixendorf. Inasmuch as -Holz is at Beethoven's side at least ten days before Schindler appears -there, and gives his services to the sick man until the end, though -not to the extent that Schindler does after his coming, the latter's -efforts to create the impression that Beethoven had sent Holz away -from him is disingenuous, to say the least. Holz's first act convicts -Schindler of an error which can scarcely be set down as an innocent -one. The story involves one of the slanders against Karl which has -been repeated from Schindler's day to this, although its refutation -needed only a glance into the Conversation Books of December, 1826. -Schindler says that he did not learn of Beethoven's condition until -"several days" after his return to Vienna. That he then hurried to -him and learned that neither Dr. Braunhofer nor Dr. Staudenheimer, -though sent for by Beethoven, had answered the summons and that Dr. -Wawruch's coming was due to something only a little better than an -accident. Karl, though charged with the duty of summoning a physician, -had forgotten, or neglected, to so do, for several days. His commission -occurred to him while playing at billiards, and he incidentally asked -a _marqueur_ (scorer) in the billiard-room to send a physician to his -uncle. The _marqueur_, not being well, could not do it at the time, but -mentioned the matter some time later to Dr. Wawruch at the hospital -to which he had been taken. This story of unexampled heartlessness, -to which Dr. Gerhard von Breuning also gave currency, Schindler said -he had heard from Dr. Wawruch; but it is branded as a shameless -fabrication by Dr. Wawruch's published statement and the evidence of -the Conversation Book. Dr. Wawruch wrote a history of Beethoven's -illness entitled "Aerztlicher Rueckblick auf Ludwig van Beethoven's -letzte Lebensepoche" under date of May 20, 1827, which was published -by Aloys Fuchs in the "Wiener Zeitschrift" of April 30, 1842. In -this report Dr. Wawruch says, "I was not called in until the third -day." This third day would be December 5th, and the date has twofold -confirmation in the Conversation Book. A fortnight after Beethoven's -return to Vienna there is an entry in Karl's handwriting of the -physician's visits beginning with December 5th and ending with December -14, which shows that within this period Dr. Wawruch made daily visits -and on one day came twice. Schindler's name does not appear until some -time after this entry, and it is recorded in a manner which indicates -plainly that it was his first meeting with the sick man. As the book -was folded and renumbered by Schindler the page on which this entry -appears is made to look as if it preceded others which are filled with -evidences of Holz's helpfulness, but the records of the first call of -the physician are plain and undisputable. It was Holz who sent for him -and he did so on December 5, the day on which the first visit is noted. -Evidently Holz had hastened to Beethoven on receiving the letter asking -him to come which Karl seems to have delivered to him on the 4th or -5th. What passed at the first meeting does not appear, but this remark -in the handwriting of Holz does: - - I have had Professor Wawruch called for you; Vivenot is himself - sick. I do not know Wawruch personally, but he is known here as one - of the most skillful physicians.--He is Bogner's doctor.--He is - professor in the hospital.--He will come after dinner. - -Vivenot was a physician. In all probability Beethoven had exhausted the -list of physicians of his acquaintance (Smetana, a surgeon, may not -have been considered and Malfatti could not be at the time for reasons -which Beethoven knew and was made painfully to feel later), before -Holz succeeded in securing the attendance of Wawruch.[163] According -to the accepted story, Braunhofer, who had been the last physician to -treat Beethoven before the misfortunes of the summer, had declined -the call because of the too great distance between his house and -Beethoven's, and Staudenheimer, whom Braunhofer had displaced, promised -to come but did not. The latter, probably both, took part later in the -consultations. Wawruch was an amateur violoncello player and an ardent -admirer of Beethoven's music. When he comes to his august patient, -though he permits Karl to write the questions, he takes the pencil -himself to tell who he is: "One who greatly reveres your name will do -everything possible to give you speedy relief--Prof. Wawruch." In his -history of the case Wawruch writes: - - I found Beethoven afflicted with serious symptoms of inflammation - of the lungs. His face glowed, he spat blood, his respiration - threatened suffocation and a painful stitch in the side made lying - on the back a torment. A severe counter-treatment for inflammation - soon brought the desired relief; his constitution triumphed and by - a lucky crisis he was freed from apparent mortal danger, so that on - the fifth day he was able, in a sitting posture, to tell me, amid - profound emotion, of the discomforts which he had suffered. On the - seventh day he felt considerably better, so that he was able to get - out of bed, walk about, read and write. - -Dr. Gerhard von Breuning, who was concerned in proving that Dr. -Wawruch was a bungling practitioner, protests that Beethoven was not -suffering from inflammation of the lungs but from inflammation of the -peritoneum, which alone, he says, could have brought on the dropsy of -the belly from which it has been thought until recently Beethoven died. -He based his opinion on the fact, which, though only a boy of 13, he may -have observed in the sick-room, that the patient did not cough, had no -difficulty in breathing, and that afterwards his lungs were found to be -sound. Wawruch, however, an experienced physician, is speaking of what -he observed on his first visit and is not likely to have erred in so -obvious a matter as incipient lobar pneumonia, the general history of -which as now understood agrees with the recorded account of Beethoven's -case, even in such details as the critical period reached on the fifth -day. The subsequent strength of the lungs is not inconsistent with -the theory that in the first week Beethoven weathered an attack of -pneumonia. - -[Sidenote: BEETHOVEN'S HEALTH IN THE COUNTRY] - -There are few references to the state of Beethoven's health during the -sojourn at Gneixendorf, but that he was ill when he arrived there is -indicated by an early remark by Johann attributing an improvement in -the condition of his eyes to the good air "without rosewater." Johann -wrote later that, when with him, Beethoven ate little. When the food -was not prepared to his taste he ate soft-boiled eggs for dinner "and -drank all the more wine." He had frequent attacks of diarrhoea. His -abdomen also became distended so that he wore a bandage for comfort. -Wawruch had no knowledge of his patient's previous medical history and -was compelled to discover for himself what his colleagues, to whom the -sick man's call was first extended, would have known from their earlier -experiences with him. Schindler attacks Wawruch on the ground that he -had said that Beethoven was addicted to the use of spirituous liquors. -The Conversation Books and other testimony plentifully indicate that -the great composer was fond of wine and that his physicians had -difficulty in enforcing abstinence upon him; but the only one who, by -indirection, accused Beethoven of drinking to excess, was Schindler, -whose statements on that point are not free from the suspicion that -they were made only for the purpose of hitting Holz over Wawruch's -shoulders.[164] - -Wawruch's report continues: - - But on the eighth day I was alarmed not a little. At the morning - visit I found him greatly disturbed and jaundiced all over - his body. A frightful choleraic attack (_Brechdurchfall_) had - threatened in the preceding night. A violent rage, a great grief - because of ingratitude and undeserved humiliation, was the cause - of the mighty explosion. Trembling and shivering he bent double - because of the pains which raged in his liver and intestines, and - his feet, thitherto moderately inflated, were tremendously swollen. - From this time on dropsy developed, the segregation of urine became - less, the liver showed plain indication of hard nodules, there - was an increase of jaundice. Gentle entreaties from his friends - quieted the threatening mental tempest, and the forgiving man - forgot all the humiliation which had been put upon him. But the - disease moved onward with gigantic strides. Already in the third - week there came incidents of nocturnal suffocation; the enormous - volume of collected water demanded speedy relief and I found myself - compelled to advise tapping in order to guard against the danger of - bursting. - -After Dr. Wawruch had reached this decision, Dr. Staudenheimer was -called in consultation and he confirmed the attending physician's -opinion as to the necessity of an operation. Beethoven was told. -"After a few moments of serious thought he gave his consent." The -servant Thekla, who had, apparently, come from Gneixendorf (as her -name appears in the Conversation Book used there), in the midst of -the preparations for the operation had been found to be dishonest and -dismissed. The composer's brother had arrived in Vienna about December -10 and thereafter is found constant in his attendance, a fact which it -becomes necessary to mention because of the obvious effort of Schindler -to create the impression that the burden of the care of Beethoven had -been assumed by him, von Breuning and the latter's son Gerhard. Wawruch -had retained Dr. Seibert, principal surgeon (_Primaerwundarzt_) at the -hospital, to perform the operation. The date was December 20 (not 18, -as Schindler says). Those present were Johann, Karl and Schindler. -Beethoven's sense of humor did not desert him. When, the incision -having been made, Dr. Seibert introduced the tube and the water spurted -out, Beethoven said: "Professor, you remind me of Moses striking the -rock with his staff."[165] Wawruch writes in the Conversation Book: - - Thank God, it is happily over!--Do you already feel relief?--If - you feel ill you must tell me.--Did the incision give you any - pain?--From to-day the sun will continue to ascend higher.--God - save you! [_This in English._] Lukewarm almond milk.--Do you - not now feel pain?--Continue to lie quietly on your side.--Five - measures and a half.--I hope that you will sleep more quietly - to-night.... You bore yourself like a knight. - -[Sidenote: MULTIPLICATION AND HANDEL'S SCORES] - -In the early days after Beethoven's return to Vienna there is a -continuation of the correspondence with Schott and Sons concerning the -publication of the works which they had purchased, and before the end -of December, probably in the third week, occurs the incident of the -disappointing gift from the King of Prussia which makes its appearance -in the record with something like a shout of "Good news!" from -Schindler. Karl is busily occupied in preparations for his military -career and upon him, until the arrival of Holz, appears to devolve -the labor of writing and of carrying messages. The Conversation Book -used by him on the 4th of December and the two following days bears a -pathetic proof of Beethoven's helplessness in the matter of figures. A -page or so is filled with examples in simple multiplication--tables, -without answers, of threes, fours, sevens, etc.--and the remark, "Then -backwards." Later Karl writes an explanation: "Multiplication is a -simplified form of addition, wherefore examples are performed in the -same manner. Each product is set under its proper place. If it consists -of two digits, the left one is added to the product of the next. Here a -small illustration: 2348 multiplied by 2." It was thus that the great -genius approaching his 56th birthday was employing his time while -waiting in vain for the physicians who would not or could not answer -his summons! - -One joyful event brightened the solitary gloom of the sick-chamber in -the middle of December. From Stumpff, of London, Beethoven received the -40 volumes of Dr. Arnold's edition of the works of Handel which the -donor had resolved to send Beethoven on his visit in 1824. Gerhard von -Breuning pictures the joy of Beethoven at the reception of the gift, -which he described as royal compared with that of the King of Prussia. -One day the boy was asked to hand the big books from the pianoforte -where they rested to the bed. "I have long wanted them," said the -composer to his faithful little friend, "for Handel is the greatest, -the ablest composer that ever lived. I can still learn from him." He -leaned the books against the wall, turned over the pages, and ever and -anon paused to break out into new expressions of praise. Von Breuning -places these incidents in the middle of February, 1827, but his memory -was plainly at fault. Schindler says the books arrived in December, and -he is right, for Stumpff preserved the receipt for them, a letter and -Reichardt's "Taschenbuch fuer Reisende," which is dated "December 14, -1826." The gift was sent through the son of Stumpff's friend Streicher. - -Stephan von Breuning had called on Beethoven shortly after his arrival -and the work of making a soldier of Karl was begun at once. It was -expected that the preparations would occupy only a few days, but they -dragged themselves through the month of December, owing partly, no -doubt, to an illness which befell the Councillor. There were formal -calls to be made upon the Lieut. Field Marshal and other officers, -a physical examination to be undergone (it was most perfunctory), -uniforms to be provided, the oath of service to be taken, and his -monthly allowance to be fixed. All this was disposed of by the date -of the first tapping, and it was expected that he would set out to -join his regiment at Iglau before the Christmas holidays. There is -no evidence of a change in the attitude towards each other of uncle -and nephew. Some of Karl's entries in the Conversation Books betray a -testiness which is in marked contrast to Beethoven's obvious solicitude -for the young man's position and comfort in his regiment; but the -entries also indicate that illness had not sweetened the disposition of -the sufferer. His outbursts of rage are the subject of warnings from -physicians and friends. We have Schindler's word for it that Beethoven -became cheerful after the graceless youth's departure for Iglau on -January 2nd, and the testimony of the Conversation Book that the old -year closed upon a quarrel between the two. Karl writes this greeting -on New Year's day: "I wish you a happy new year, and it grieves me that -I should have been compelled already in the first night to give cause -for displeasure. It might easily have been avoided, however, if you had -but given the order to have my meal taken to my room." - -It is very possible that Beethoven's spirits grew lighter after the -departure of his nephew. The service which Karl gave his uncle seems -frequently to have been given grudgingly and no doubt looked more -ungracious than it may really have been, when accompanied by protests -that he would not be found failing in duty and petulant requests that -he be spared upbraidings and torments. To satisfy the singular mixture -of affectionate solicitude and suspicion which filled Beethoven's heart -and mind would perhaps have taxed the philosophy of a wiser as well -as gentler being than this young man, who, as Johann's wife told the -composer in Gneixendorf, had inherited the testy family temper. When -open quarrels were no longer possible, it is likely that a greater -contentment than had lodged there for a long time filled Beethoven's -soul. There is no record of the parting, and it is safe to assume -that it passed off without emotional demonstration of any kind. But -Beethoven's thoughts went swiftly towards his self-assumed duty of -providing for the young man's future. The very next day he wrote the -following letter to Dr. Bach: - -[Sidenote: PROVIDING FOR THE NEPHEW'S FUTURE] - - Vienna, Wednesday January 3, 1827. - - Before my death I declare my beloved nephew my sole and universal - heir of all the property which I possess in which is included - chiefly seven bank shares and whatever money may be on hand. If - the laws prescribe a modification in this I beg of you as far as - possible to turn it to his _advantage_. I appoint you his _curator_ - and beg his guardian, Court Councillor von Breuning, to take the - place of a father to him. God preserve you. A thousand thanks for - the love and friendship which you have shown me. - - (L. S.) Ludwig van Beethoven. - -From Gerhard von Breuning's account of the last days of Beethoven it -would seem that this letter, though written on January 3rd, and then -addressed to his legal adviser, was not signed until shortly before -his death, and that at intervals in the interim it was the subject -of consultations between the composer, Bach, Breuning, Schindler and -Johann. Certain it is that before dispatching the letter to Bach, -Beethoven submitted it to von Breuning for an opinion. Gerhard carried -it to his father and brought back an answer which may have postponed -its formal execution and delivery till two days before Beethoven died. -Stephan von Breuning was not willing that Karl should enter upon -unrestricted possession of the property immediately upon the death of -his uncle. In his letter he pointed out that till now Karl had shown -himself frivolous and that there was no knowing what turn his character -might take as a result of the new life upon which he had entered. He -therefore advised that for the young man's own good and future safety -he be prohibited from disposing of the capital of his inheritance, -either during his lifetime or for a term of years after he had reached -his majority, which under the Austrian law then prevailing was the age -of 24 years. He argued that the income from the legacy would suffice -for his maintenance for the time being and that to restrict him in -the disposition of the capital would ensure him against the possible -results of frivolous conduct before he should ripen into a man of solid -parts. He recommended that Beethoven talk the matter over with Bach -and wanted then to consult with both of them, as he feared that even a -temporary restriction would not suffice to restrain Karl from making -debts which in time would devour the inheritance when he should enter -upon it. How Beethoven received this advice we shall learn later. - -There is little that need be added to the story of the nephew. He was -with his regiment at Iglau. Through Schindler, Beethoven wrote him -a letter. It is lost, but apparently it contained an expression of -dissatisfaction with Dr. Wawruch, for in the reply, which has been -preserved, Karl says: "Concerning yourself I am rejoiced to know that -you are in good hands. I, too, had felt some distrust of the treatment -of your former (or, perhaps, present?) physician; I hope improvement -will now follow." He reports about his situation in the regiment, asks -for money and the flute part of the Pianoforte Concerto in B-flat -(Op. 19), which one of the officers of the regiment wished to play, -and adds in a postscript: "Do not think that the little privations -to which I am now subjected have made me dissatisfied with my lot. -On the contrary, rest assured that I am living in contentment, and -regret only that I am separated so far from you. In time, however, -this will be different." But communications from the young man are -not many, and Schindler's rebukes and complaints in the Conversation -Books about his undutifulness are probably only a reflex of Beethoven's -moods and utterances. One cause of dissatisfaction was the fact that -a letter to Smart had been sent to him for translation and was not -promptly returned. But he acknowledges the receipt of money towards -the end of February, and on March 4th he writes another letter, which -has been preserved. He sends his thanks for a pair of boots, says the -translation of the letter to Smart must have been received, and adds: - - To-day a cadet returned to his batallion who had been in Vienna on - a furlough; and he reports having heard that you had been saved by - an ice and are feeling well. I hope the report is true, no matter - what the means may have been... Write me very soon about the state - of your health ... I kiss you. Your loving son Charles. - -Here Karl van Beethoven practically disappears from this history. He -never saw his uncle in life again, nor even in death, for he was not -present at the funeral--as indeed in those days of tardy communication -and slow conveyance he could not be. - -[Sidenote: SCENES IN THE COMPOSER'S SICK-ROOM] - -Notwithstanding that they do not make a complete record, since the -slate was also, and indeed largely, used by Beethoven's visitors, -and despite the fact that they have not been left intact, but bear -evidences of mutilation and falsification, the Conversation Books -furnish a more vivid and also a more pathetic picture of Beethoven's -sick-room than the writings of Schindler and Gerhard von Breuning. -Busy about the couch of the patient we see his brother Johann and his -nephew Karl, besides Schindler, Holz and Stephan von Breuning. The -visits of the last are interrupted by illness and his official labors, -but his son, the lad Gerhard, frequently lends a gracious touch to the -scene by his familiar mode of address, his gossip about his father's -domestic affairs and his suggestions of intellectual pabulum for his -august friend. He is a daily message-bearer between the two households. -Even at a sacrifice of space it is necessary to recount a few incidents -of small intrinsic interest in order that some errors in history may -be rectified. Notwithstanding Schindler's obvious efforts to have -the contrary appear, Holz continues to be faithful in attendance, -though his visits are not so numerous as they were during the weeks -of Beethoven's great trial in the summer. The reason was obvious and -certainly not to his discredit, though Schindler attempted to belittle -it. Holz took unto himself a wife about the time that Beethoven -returned to Vienna. Thitherto he had been able to devote a large -portion of the time not given to official duties to his friend. Now, -this was no longer possible; nor was it necessary after Dr. Wawruch -had assumed care of the case. Beethoven's brother also returned to -Vienna and Schindler found his way back to the composer's side within -a fortnight. It is Holz, however, who looks after the correction and -publication of the last compositions, and collects his annuity; and if -it were necessary, his apologists might find evidence of Beethoven's -confidence in his friendship and integrity in the fact that there is -no indication that he ever questioned his honesty in money matters, -while there is proof in Schindler's own handwriting that Beethoven -thought _him_ capable of theft. It is pitiful that while Schindler is -sacrificing himself in almost menial labors, Beethoven forces him to a -pained protestation that he had returned the balance of a sum placed -in his hands wherewith to make purchases. Schindler himself records -the fact of Beethoven's suspicion with sorrow. A livelier sense of -gratitude took possession of the sufferer later and found expression in -gifts of autograph scores (of the Ninth Symphony, for instance, now in -the Royal Library[166] at Berlin), and a promise, which he was unable -to fulfill, to take part in a concert for Schindler's benefit. - -Whether Schindler was always as scrupulously honest in his attitude -towards the public as he was in his dealings with Beethoven may be -doubted. There are mutilations, interlineations and erasures in the -Conversation Books which it is difficult to believe were not made for -the purpose of bolstering up mistaken statements in his biography, -which had already been published when the documents passed out of his -hands into the possession of the Royal Library. Here is a case in -point: Schuppanzigh has called and reported that one of Beethoven's -quartets had been enthusiastically received by the public at a -performance on the preceding Sunday (December 10, 1826). To what seems -to have been an oral comment, Beethovens adds the words and music of -the motto from the Quartet in F: "Muss es sein? Es muss sein." This -moves Schuppanzigh to say: "But does he"--(Beethoven, of course, whom -Schuppanzigh addresses in the third person as usual)--"does he know -that the dirty fellow has become my enemy on that account?" Here we -have an unmistakable allusion to the anecdote about Dembscher and the -origin of the Canon on the theme of the finale of the F major Quartet. -A few pages later Schindler is the writer and has just brought the -news of the arrival of the ring presented to Beethoven by the King of -Prussia. He had been asked to carry the ring to Beethoven, but had -been unwilling to accept it unless he could give Beethoven's receipt -for it in exchange. He adds the words "Es muss sein" as if in answer -to a question by Beethoven. Now appear squeezed in between the music -and the edge of the sheet the words: "The Old Woman (_Die Alte_) is -again in need of her weekly allowance." The handwriting is plainly of -a different date and at the time of the conversation the "Old Woman" -was not in Beethoven's employ.[167] It is not easy to acquit Schindler -of a sinister motive here nor to avoid the suspicion that it was his -hand which made an attempt to obliterate the entry on December 5, which -proves that Holz sent for Dr. Wawruch on that date and thus gives the -lie to the infamous story about Karl and the billiard _marqueur_. The -evidences of Schindler's eagerness to encourage Beethoven's detestation -of his brother and his suspicion of his nephew are too numerous to be -overlooked, and some of them may call for mention later. - -An offer by Gerhard von Breuning to bring one of his school-books -containing pictures of classic antiquities is an evidence of the -lad's familiarity with Beethoven's literary tastes. It was Brother -Johann, however, who suggested the novels of Sir Walter Scott for his -entertainment, and the impression conveyed by the story that after -beginning "Kenilworth" Beethoven threw the volume down with the angry -remark: "To the devil with the scribbling! The fellow writes only for -money," that the composer would have no more of the novelist, is rudely -disturbed by evidence that Beethoven read all of Scott's works which -were to be found in translation in the circulating library. Beethoven -later himself calls for Ovid's "Metamorphoses"; and his interest in -international politics is so keen that he is not content with an -abstract of Channing's great speech of December 12, 1826, but expresses -a desire to read a full report. - -[Sidenote: DISSATISFIED WITH HIS PHYSICIAN] - -While Beethoven's friends are discussing with Dr. Wawruch the necessity -of a second tapping, and Karl is packing his boxes for Iglau, the year -1826 ends. The surgeon Seibert seems to have advised a postponement of -the operation. In a conversation on January 6, 1827, Schindler says -to Beethoven: "Then Hr. Seibert was really right in still postponing -the second operation, for it will probably make a third unnecessary." -There are now signs of Beethoven's dissatisfaction with the attending -physician. Gerhard von Breuning has much to say on the point in his -little book, and Schindler joins in the criticism many years after -Beethoven's death; but in the Conversation Books he appears more than -once as Wawruch's defender. From von Breuning we learn that while at -a later date Malfatti's coming was awaited with eagerness and hailed -with unfeigned gladness, Wawruch's visits were ungraciously received, -Beethoven sometimes turning his face to the wall and exclaiming "Oh! -the ass!" when he heard his name announced. But in the first week of -January, Schindler is still concerned in keeping up the patient's faith -in the skill of his physician. In a Conversation Book he writes shortly -after the remark about the surgeon: - - He understands his profession, that is notorious, and he is right - in following a safe course.--I have a great deal of confidence in - him, but I can not speak from experience.--However, he is known as - an able man and is esteemed by his students. But as we are here - concerned with a _carum caput_ my advice from the beginning has - been always to take into consultation a physician who is familiar - with your constitution from _medical treatment_; such an one - generally adopts very different measures. - -Evidently, Beethoven renews his expression of distrust. Schindler -continues: - - Yet it is better and more advisable not to lose confidence in the - physician, for after all he has done a great deal.--It is a very - well-known fact that dropsy is very slow of cure.--Shall I come - when the doctor is here? - -A few days later (January 8, says Schindler, who was present) the -second operation took place. There were no complications, the tapping -was accomplished without difficulty and Dr. Seibert reported that the -water was clearer and the outflow greater than the first time. Ten -measures were drawn off. On January 11 there was a consultation of -physicians to which, besides either Dr. Braunhofer or Staudenheimer, -Dr. Malfatti had been called. It had become an ardent wish of -Beethoven's that Malfatti undertake his case, but Malfatti had refused, -pleading professional ethics, but no doubt actuated by reasons of a -more personal character. Many years before, probably as early as 1813, -he had been not only Beethoven's physician but also his friend; indeed, -he was an uncle of the Therese Malfatti to whom the composer once made -an offer of marriage. He made, what it is easy to imagine to have been, -the experience of all the medical men who undertook the care of the -great man. Beethoven was ever a disobedient and impatient patient. -He became dissatisfied with Dr. Malfatti's treatment and commented -upon it and him in such a manner as to cause a serious and lasting -estrangement. Ten years at least had elapsed between this incident -and the time when Beethoven's longing went out towards his one-time -professional friend. Schindler's story of the disappointments which -he suffered when first he tried to persuade Dr. Malfatti to take the -case in hand was printed in the "Frankfurter Konversationsblatt" of -July 14, 1842. It was a long time afterward, and we can not withhold -a suspicion that it is rather highly colored, but since the coming of -Malfatti was a matter of large moment to Beethoven and the treatment -which he recommended (strictly speaking, he can not be said to have -prescribed it, for Dr. Wawruch remained in charge of the case to the -end) has a large bearing upon Beethoven's physical condition and its -causes, it may be told here. Schindler writes, in his communication to -the Frankfort newspaper: - - Never shall I forget the harsh words of that man which he - commissioned me to bear to the friend and teacher who lay mortally - ill, when after the second operation (January 8) I repeatedly - carried to him the urgent requests of Beethoven that he come to his - help or he should die. Dr. Wawruch did not know his constitution, - was ruining him with too much medicine. He had already been - compelled to empty 75 bottles, without counting various powders, - he had no confidence in this physician, etc. To all of these - representations Malfatti answered me coldly and drily: "Say to - Beethoven that he, as a master of harmony, must know that I must - also live in harmony with my colleagues." Beethoven wept bitter - tears when I brought him this reply, which, hard as it was, I had - to do, so that he might no longer look for help to that quarter.... - Though Malfatti finally took pity on poor Beethoven and abolished - Wawruch's medicine bottles at once and prescribed an entirely - different course of treatment, despite the pleadings of the patient - he refused to remain his _ordinarius_ and visit him often. On the - contrary, he came only at long intervals and contented himself with - occasional reports from me as to the sick man's condition. He was - not willing even to send one of his assistants to Beethoven and - consequently Dr. Wawruch remained his daily visitor in spite of - Beethoven's protests. - -[Sidenote: RECONCILIATION WITH DR. MALFATTI] - -On January 19, after a second visit to Dr. Malfatti, Schindler wrote to -Beethoven saying that the Doctor would come to him and begging him to -seek a reconciliation, inasmuch as Malfatti still cherished resentment -because of the treatment which he had received a decade before at -Beethoven's hands. Malfatti came, a reconciliation was effected, -and under the inspiration of the changed treatment which Malfatti -introduced Beethoven's spirits rose buoyantly, his physical condition -responded and the despair which had begun to fill the sufferer gave -way to a confident hope of recovery. The treatment was simple, but the -improvement which it brought about was not lasting. Malfatti put away -the drugs and decoctions and prescribed frozen punch, and rubbing the -patient's abdomen with ice-cold water. Dr. Wawruch in his history of -the case confirms Schindler's statement of the beneficial results which -were at first attained. He says: - - Then Dr. Malfatti, who thenceforth supported me with his advice, - and who, as a friend of Beethoven of long years' standing - understood his predominant inclination for spirituous liquors, - hit upon the notion of administering frozen punch. I must confess - that the treatment produced excellent effects for a few days - at least. Beethoven felt himself so refreshed by the ice with - its alcoholic contents that already in the first night he slept - quietly throughout the night and began to perspire profusely. He - grew cheerful and was full of witty conceits and even dreamed of - being able to complete the oratorio "Saul and David"[168] which - he had begun. But this joy, as was to have been foreseen, did not - last long. He began to abuse the prescription and applied himself - right bravely to the frozen punch. The spirits soon caused a - violent pressure of the blood upon the brain, he grew soporous, - breathed stertorously like an intoxicated person, began to wander - in his speech, and a few times inflammatory pains in the throat - were paired with hoarseness and even aphony. He became more - unruly and when, because of the cooling of the bowels, colic and - diarrhoea resulted, it was high time to deprive him of this precious - refreshment. - -Wawruch's remark here about Beethoven's predilection for spirituous -liquors formed the basis for Schindler's charge, which has already -been discussed, that the physician had slandered Beethoven and had -tried to create the impression that he had contracted dropsy by -inordinate use of alcoholic drinks. The account of the beneficial -effect of Malfatti's coming, no less than the treatment which he -prescribed, is reasonable enough. Beethoven no doubt, in the warm -glow of a recovered friendship, gave the physician a full measure of -confidence and hailed in him much more than the ordinary professional -leech. It is also safe to assume that Malfatti knew from the beginning -that a cure was impossible and strove at once for temporary relief, -which in Beethoven's case was the surest of means for cheering him -up and reanimating hope within him. By administering frozen punch -he stimulated the jaded organs more successfully than Wawruch had -succeeded in doing; at the same time he warned against excess in its -use and forbade the patient taking it in a liquid form. But this was -only at the beginning; when he saw the inevitable end approaching he -waived all injunctions as to quantity. Schindler says: - - The quantity of frozen punch permitted in the first weeks was not - more than one glass a day. Not until after the fourth operation - (February 27th), when it was seen that the case was hopeless, - were all restrictions removed. The noble patient, feeling the - marked effects of a doubled and even trebled allowance meanwhile, - thought himself already half saved and wanted to work on his - tenth symphony, which he was allowed to do to a small extent. - From these days, so extraordinary in the sight of the friends who - surrounded him, the last lines are dated which he wrote to me on - March 17--nine days before his death--the very last page which the - immortal master wrote with his own hands: - - "Miracles! Miracles! Miracles! The highly learned gentlemen are - both defeated! Only through Malfatti's science shall I be saved. It - is necessary that you come to me for a moment this forenoon." - -The reiteration of the word "miracles" is indicated by the usual -musical sign of repetition [repeat symbol]. There is no date in -Beethoven's handwriting, but Schindler has endorsed it: "Beethoven's -last lines to Schindler on March 17, 1827." The endorsement is of -a later date and marks another obvious error of memory. It is not -possible that Beethoven wrote the letter after he had himself abandoned -all hope of recovery, as he had before the date affixed by Schindler. -Most obviously the pathetic document is an outburst of jubilation on -feeling the exhilaration consequent on Malfatti's prescription, as -mentioned in Dr. Wawruch's report. Schindler says that the "learned -gentlemen" referred to were Wawruch and Seibert. Wawruch says that -Beethoven abandoned hope after the fourth tapping; Johann van Beethoven -records that the physicians declared him lost on March 16. Schindler in -his biography describes a letter written in February as the last letter -actually written by the composer. - -[Sidenote: TREATMENT OF THE PATIENT] - -Gerhard von Breuning, prejudiced as he was against Dr. Wawruch, was yet -far from unqualified in his praise of Malfatti. He says: - - But the usually brilliant physician seems to have been little - inspired in the presence of Beethoven. The frozen punch which he - prescribed to restore the tone of the digestive organs, excessively - weakened by Wawruch's overload of medicaments, had, indeed, the - desired restorative effect; but it was too transient. On the - other hand a sort of sweat-bath prescribed a few days after the - second[169] operation was so obviously injurious to the patient, - filled with longing and hope, that it had to be abandoned at once. - Jugs filled with hot water were arranged in a bath-tub and covered - thickly with birch leaves on which the patient was seated, all of - his body but the head being covered with a sheet. Malfatti hoped - for a beneficient action upon the skin and to put the organs into - a productive perspiration. But the very opposite effect resulted. - The body of the patient, which had been emptied of its water by the - scarcely completed tapping, attracted the moisture developed by the - bath like a block of salt; it swelled visibly in the apparatus and - in a few days compelled the introduction anew of the tube into the - still unhealed puncture. - -The story of this sweat-bath needs to be told, if for no other reason -than because it is the basis of another of the romances still current, -which were retailed for the single purpose of presenting Beethoven as -a sufferer from the niggardliness of Johann. On January 25 (the date -is fixed by a remark of Johann's in the Conversation Book) Schindler -brought word to Beethoven that the mother of the singer Fraeulein -Schechner had sent for him that morning to tell him about two remedies -which had proved efficacious in the case of her father, who had also -been afflicted with dropsy. One of these was Juniperberry tea, the -other a vapor bath from a decoction, the ingredients of which were -a head of cabbage, two handfuls of caraway seeds and three handfuls -of hayseed (_Heublumen_). These remedies had been prescribed by the -physician of the late King of Bavaria and had worked a cure in the case -of Madame Schechner's father when he was 70 years old. Dr. Malfatti -seems to have been told of these remedies and to have prescribed the -bath, which, it is said in the Conversation Books, he recognized at -once as a cure used by Dr. Harz, the Royal Physician mentioned. Within -a day or two Schindler notes in the book, that he had asked Johann for -some hay and the latter had replied that his hay was not good enough -for the purpose; but the next day, on seeing the hay, which had been -procured from another source, Johann had said that he had plenty of -that sort and that his was dryer. Unwilling, apparently, to admit -that Johann might have been honest in his belief that the hay from -his stable was not fit for medicinal purposes, Schindler writes for -Beethoven's perusal: "Is it not abominable that he is unwilling even to -give hay for a single bath!" Yet this monster of inhumanity, unwilling -to sacrifice even a wisp of hay for a dying brother, was at the time in -daily attendance upon that brother and had taken upon himself a great -deal of the onerous and disagreeable labor of the sick-room! - -Among Beethoven's visitors in February, near the end of the month, -when Beethoven was at an extremity of his suffering, was the singer -Demoiselle Schechner, who almost forced her way to the bedside to -tell him of her great admiration for his music, of her successes in -"Fidelio," and that it was through singing his "Adelaide" that she had -won her way to the operatic stage. Under date of February there also -came to the composer a cheery letter from his old playmate Wegeler, -calling to his mind some of his early flames--Jeanette Honrath and -Fraeulein Westerholt--and playfully outlining a plan by which the old -friends might enjoy a reunion: he would send, he said, one of his -patients to Carlsbad and go there with him as soon as Beethoven should -arrange also to go there for his convalescence. Then, after a three -weeks' trip through South Germany, there should be a final visit to the -home of their childhood. And, as before, Eleonore sends a postscript -emphasizing the pleasures of the reunion. Beethoven answered the letter -on February 17, and told his old friend how he had tried to send him a -letter and portrait through Stephan von Breuning on December 10, but -the plan had miscarried. Now the matter was to be entrusted to the -Schotts. - -Zmeskall, faithful to the old friendship, a bound prisoner to his room -through gout, sends greetings and inquiries through Schindler. From his -sick-bed Beethoven answers him, not in the jocular spirit which marked -his voluminous notes of old, but in terms which breathe sincerity and -real friendship: - - A thousand thanks for your sympathy. I do not despair. The most - painful feature is the cessation of all activity. No evil without - its good side. May heaven but grant you amelioration of your - painful existence. Perhaps health is coming to both of us and we - shall meet again in friendly intimacy. - -[Sidenote: COMFORT RECEIVED FROM ENGLAND] - -Though Beethoven had received the Handel scores in December, he does -not seem to have had an opportunity to enjoy Stumpff's gift thoroughly -until he turned to them for intellectual refreshment on his bed of -pain. He had signed the receipt for them in December, but it was -not until his thoughts turned to his English friends in the hope of -pecuniary relief that he wrote a letter to Stumpff under date of -February 8.[170] - - How great a joy the sending of the works of Handel of which you - made me a present--for me a royal present!--this my pen cannot - describe. An article about it was even printed by the newspaper, - which I enclose. Unfortunately I have been down with the dropsy - since the 3rd of December. You can imagine in what a situation this - places me! I live generally only from the proceeds of my brain, - to make provision of all things for myself and my Carl. Unhappily - for a month and a half I have not been able to write a note. My - salary suffices only to pay my semi-annual rent, after which there - remains only a few hundred florins. Reflect now that it cannot - yet be determined when my illness will end, I again be able to - sail through the air on Pegasus under full sail. Doctor, surgeon, - everything must be paid. - - I recall right well that several years ago the Philharmonic Society - wanted to give a concert for my benefit. It would be fortunate for - me if they would come to this determination now. It might save me - from all the needs which confront me. On this account I am writing - to Mr. S. [Smart] and if you, my dear friend, can do anything - toward this end I beg of you to cooperate with Mr. S. Moscheles - will also be written to about it and if all my friends unite I - believe that something can be done for me in this matter. - - Concerning the Handel works for H. Imperial Highness Archduke - Rudolph, I cannot as yet say anything with certainty. But I will - write to him in a few days and remind him of it. - - While thanking you again for your glorious gift, I beg of you to - command me if I can be of service to you here in any way, I shall - do it with all my heart. I again place my condition as I have - described it close to your benevolent heart and while wishing you - all things good and beautiful, I commend myself to you. - -Stumpff had already been informed of Beethoven's illness by Streicher. -It is evident that he went at once to Smart and Moscheles, and -knowledge of Beethoven's condition and request was communicated to the -directors of the Philharmonic Society forthwith. Beethoven, meanwhile, -had written to both Smart and Moscheles, enclosing the letter of the -former in the letter to the latter; but the quick and sympathetic -action of the Society was no doubt due primarily to the initiative of -Stumpff, for the letters could by no means have reached London when the -directors held a meeting on February 28. Mr. Dance presided, and those -present, as recorded in the Society's minutes, were F. Cramer, Horsley, -Moralt, Dragonetti, Neate, Dizi, Beale, T. Cooke, Sir G. Smart, Welsh, -Latour, Spagnoletti, Calkin, J. B. Cramer, Cipriani Potter and Watts. -The minutes continue: - - It was moved by Mr. Neate, and seconded by Mr. Latour: - - "That this Society do lend the sum of One Hundred Pounds to its - own members to be sent through the hands of Mr. Moscheles to some - confidential friend of Beethoven, to be applied to his comforts and - necessities during his illness." - - Carried unanimously. - -Both Stumpff and Moscheles wrote the good news to Beethoven the -next day. Moscheles's letter appears in his translation, or rather -paraphrase, of Schindler's biography. In it he said: - - The Philharmonic Society resolved to express their good will - and lively sympathy by requesting your acceptance of 100 pounds - sterling (1,000 florins) to provide the necessary comforts and - conveniences during your illness. This money will be paid to your - order by Mr. Rau, of the house of Eskeles, either in separate sums - or all at once as you desire. - -He added an expression of the Philharmonic Society's willingness to aid -him further whenever he should inform it of his need of assistance. -Beethoven's impatience was so great that, having found Smart's address -among his papers, he wrote him a second letter on March 6th, being -able now to mention the fact of the fourth tapping on February 27th -and to utter the apprehension that the operation might have to be -repeated--perhaps more than once. On March 14th he was still without -the answer of his English friends and he wrote again to Moscheles -telling him of the two letters sent to Smart, urging action and -concluding with - - Whither is this to lead, and what is to become of me if this - continues for a while longer? Verily, a hard lot has befallen me! - But I yield to the will of fate and only pray God so to order it in - his Divine Will that so long as I must endure this death in life I - may be protected against want. This will give me strength to endure - my lot, hard and terrible as it may be, with submission to the will - of the Most High.... Hummel is here and has already visited me a - few times. - -Schindler says that the appeal to London, which had been suggested -by Beethoven, had been discussed with the composer by himself and -Breuning, who agreed in questioning the advisability of the step -which, they said, would make a bad impression if it became known. They -reminded Beethoven of his bank-shares, but he protested vigorously -against their being touched; he had set them apart as a legacy for his -nephew which must not be encroached upon. The letters to Smart and -Moscheles are mentioned several times in the Conversation Books, but -there is no record of a protest by Schindler or Breuning. Inasmuch, -however, as much of the conversation with Beethoven was at this time -carried on with the help of a slate, it is very likely that Schindler's -statement is correct. At any rate it serves to give a quietus to the -fantastic notion of the romancers that Beethoven had forgotten that -he had the shares. Not only were they talked about by his friends, -but they were the subject of discussion in the correspondence and -congratulations between Beethoven, Bach and Breuning on the subject of -the will. - -The last letters to Smart and Moscheles were scarcely dispatched before -advices were received from London. Beethoven dictated the following -acknowledgment which Schindler, though he held the pen, did not -reproduce in full in his biography: - -[Sidenote: MONEY FROM THE LONDON PHILHARMONIC] - - Vienna, March 18, 1827. - - My dear good Moscheles: - - I can not describe to you in words with what feelings I read your - letter of March 1. The generosity with which the Philharmonic - Society anticipated my petition has touched me in the innermost - depth of my soul. I beg you, therefore, my dear Moscheles, to be - the agency through which I transmit my sincerest thanks for the - particular sympathy and help, to the Philharmonic Society. - - I found myself constrained to collect at once the entire sum of - 1,000 florins C. M. being in the unpleasant position of raising - money which would have brought new embarrassments. - - Concerning the concert which the Philharmonic Society has resolved - to give, I beg the Society not to abandon this noble purpose, and - to deduct the 1,000 florins already sent to me from the proceeds of - the concert. And if the Society is disposed graciously to send me - the balance I pledge myself to return my heartiest thanks to the - Society by binding myself to compose for it either a new symphony, - which lies already sketched in my desk, a new overture or whatever - else the Society shall wish. - - May heaven very soon restore me again to health, and I will prove - to the generous Englishmen how greatly I appreciate their interest - in my sad fate. Their noble act will never be forgotten by me and I - shall follow this with especial thanks to Sir Smart and Mr. Stumpff. - -Schindler relates that Beethoven on March 24, whispered to him, "write -to Smart and Stumpff," and that he would have done so on the morrow had -Beethoven been able to sign his name. In a translation of the letter to -Moscheles printed in a pamphlet published by the Philharmonic Society -in 1871,[171] it concluded as follows: - - Farewell! with the kindest remembrances and highest esteem - From your friend - Ludwig van Beethoven. - - Kindest regards to your wife. I have to thank you and the - Philharmonic Society for a new friend in Mr. Rau. I enclose for the - Philharmonic Society a metronomic list of the movements of my ninth - Symphony. - - Allegro ma non troppo 88 = [crotchet] - Molto vivace 116 = [minim] - Presto 116 = [minim] - Adagio primo 60 = [crotchet] - Andante moderato 63 = [minim] - Finale presto 96 = [crotchet] - Allegro ma non tanto 88 = [crotchet] - Allegro assai 80 = [minim] - Alla marcia 84 = [crotchet] - Andante maestoso 72 = [minim] - Adagio divoto 60 = [minim] - Allegro energico 84 = [minim] - Allegro ma non tanto 120 = [minim] - Prestissimo 132 = [minim] - Maestoso 60 = [crotchet] - -The history of the Philharmonic Society's benefaction may properly be -completed at this point. The money, as is to be seen from Beethoven's -acknowledgment, was collected by the composer at once. Herr Rau, of the -banking-house of Eskeles to whom it had been entrusted, called upon -Beethoven immediately on receiving advices from London. It was on March -15, and two days later he enclosed Beethoven's receipt (dated March 16) -in a letter to Moscheles which the latter transmitted to Mr. W. Watts, -Secretary of the Philharmonic Society. Rau wrote: - - I have with the greatest surprise heard from you, who reside in - London, that the universally admired Beethoven is so dangerously - ill and in want of pecuniary assistance, while we, here at Vienna, - are totally ignorant of it. I went to him immediately after having - read your letter to ascertain his state, and to announce to him - the approaching relief. This made a deep impression upon him, and - called forth true expressions of gratitude. What a satisfactory - sight would it have been for those who so generously relieved him - to witness such a touching scene! I found poor Beethoven in a sad - way, more like a skeleton than a living being. He is suffering - from dropsy, and has already been tapped four times; he is under - the care of our clever physician Malfatti, who unfortunately gives - little hope of his recovery. - - How long he may remain in his present state, or if he can at all - be saved, can not yet be ascertained. The joyous sensation at the - sudden relief from London has, however, had a wonderful effect upon - him; it made one of the wounds (which since the last operation had - healed) suddenly burst open during the night, and all the water - which had gathered since a fortnight ran out freely. When I came to - see him on the following day he was in remarkably good spirits and - felt himself much relieved. I hastened to Malfatti to inform him of - this alteration and he considers the event as very consolatory. He - will contrive to keep the wound open for some time and thus leave a - channel for the water which gathers continually. Beethoven is fully - satisfied with his attendants, who consist of a cook and housemaid. - His friend and ours, Mr. Schindler, dines with him every day - and thus proves his sincere attachment to him. S. also manages - his correspondence and superintends his expenses. You will find - enclosed a receipt from Beethoven for the 1,000 florins (or 100 - pounds). When I proposed to him to take half of the sum at present, - and to leave the rest with Baron Eskeles, where he might have it - safely deposited, he acknowledged to me openly that he considered - this money as a relief sent him from heaven; and that 500 florins - would not suffice for his present want. I therefore gave him, - according to his wish, the whole sum at once. Beethoven will soon - address a letter to the Philharmonic Society by which he means to - express his gratitude. I hope you will again accept my services - whenever they can be of any use to Beethoven. I am, etc. - -In a letter, dated March 24, Schindler wrote to Moscheles: - - I much regret that you did not express more decidedly in your - letter the wish that he should draw the 100 pounds by installments, - and I agreed with Rau to recommend this course, but he (Beethoven) - preferred acting on the last part of your letter. Care and anxiety - seemed at once to vanish when he had received the money, and he - said to me quite happily, "Now we can again look forward to some - comfortable days." We had only 340 florins, W. W. remaining and - we had been obliged to be very economical for some time in our - housekeeping.... His delight on receiving this gift from the - Philharmonic Society resembled that of a child. A letter from that - worthy man Stumpff arrived here two days before yours and all this - affected Beethoven very much. Numberless times during the day he - exclaimed. "May God reward them a thousandfold." - -On March 28 Rau wrote again to Moscheles: - - Beethoven is no more; he died on the 26th inst. at five o'clock - in the afternoon, in the most dreadful agonies of pain. He was, - as I mentioned to you in my last letter, according to his own - statement, without any relief, without any money, consequently in - the most painful circumstances; but on taking an inventory of his - property after his death, at which I was present, we found in an - old half-mouldy chest, seven Austrian bank bills which amount to - about 1,000 pounds. Whether Beethoven concealed these purposely, - for he was very mistrusting, and hoped for a speedy recovery, - or whether he was himself ignorant of his possession, remains a - riddle. We found the whole of the 100 pounds which the Philharmonic - Society sent him, and I reclaimed them according to your former - orders.[172] but was compelled to deposit them with the magistrate - until a further communication from that Society arrives. I could, - of course, not permit the expenses of the burial to be paid out of - this money without the consent of the Society. Beethoven's nephew - now succeeds to all his property. I hope to hear from you soon and - explicitly what I am to do, and you may rest perfectly assured of - my promptness and exactitude. - -[Sidenote: MOSCHELES REPORTS TO LONDON] - -Moscheles, "by return post," as he assures Mr. Watts, asked Rau to send -the L100 back to the Philharmonic Society "according to the conditions -under which the money was sent." A correspondence ensued between -Moscheles and Hotschevar, who was appointed guardian of the nephew -after Breuning's death (on June 4, 1827), which ended in Moscheles' (as -he himself says) laying before the Philharmonic Society the case of -young Beethoven (then under age) and soliciting them "not to reclaim -the L100, but, in honor of the great deceased, to allow the small -patrimony to remain untouched." Meanwhile it appears from a letter from -Schindler to Smart dated March 31,[173] that Schindler and Breuning -applied a portion of the sum to the payment of the funeral expenses; -"otherwise," says the letter, "we could not have had him decently -buried without selling one of the seven bank-shares which constitute -his entire estate." The sum thus expended is shown to have been 650 -florins C. M. by the inventory preserved by Fischoff. - -There are evidences outside of the importunate letters to London that -Beethoven had frequent spells of melancholy during the period between -the crises of his disease, which culminated in the third operation on -February 2,[174] and the fourth. Some of them were, no doubt, due to -forebodings touching the outcome of his illness; some to the anxiety -which his financial condition gave him (more imaginary than real in -view of the easily convertible bank-shares), and some presumably to -disappointment and chagrin at the conduct of his nephew, who had not -answered his letter to Iglau. Breuning explained that the negligence -might be due to Karl's time and attention being engrossed by the -carnival gayeties at the military post, and warned Beethoven that -to give way to melancholy was to stand in the way of recovery. We -learn this from the Conversation Books, which also give glimpses of -friendly visits calculated to divert the sick man's mind and keep -him in touch with the affairs of the city, theatre and the world at -large. Dolezalek, Schuppanzigh, and apparently Linke also, came in a -group; Beethoven showed them the Handel scores and the conversation -ran out into a discussion of international politics. Moritz Lichnowsky -made a call and entertained him with the gossip of the theatres. -Gleichenstein made several visits, and once brought with him his -wife and son. The Countess was a sister of Therese Malfatti, to whom -Beethoven had once made an offer of marriage, and was disappointed -when Beethoven did not recognize her. About the middle of February -Diabelli gave Beethoven a print-picture of Haydn's birthplace, which -he had published; Beethoven showed it to his little friend Gerhard von -Breuning and said: "Look, I got this to-day. See this little house, and -in it so great a man was born!" - -[Sidenote: FRIENDS AROUND THE DEATH-BED] - -On February 25 Holz is called by letter to look after the collection -of Beethoven's annuity. His visits have been infrequent, but evidently -there are some things which Beethoven either cannot or will not -entrust to anybody else. Schindler is ceaselessly and tirelessly busy -with Beethoven's affairs, but his statement that Breuning and he were -the only persons who were much with the composer during his illness, -except the lad, Gerhard von Breuning, must be taken with some grains -of allowance. On 123 pages of the Conversation Books, covering the -months of January and February, 1827 (the evidence of which can not be -gainsaid, since the books were long in the hand of Schindler to do with -as he willed), there are forty-eight entries by Johann van Beethoven, -forty-six by Gerhard von Breuning and thirty by Breuning the elder. -Schindler's entries number 103. Other writers in the Books are Bernhard -(1), Holz (7), Bach (2), Piringer (6), Haslinger (11), Schikh (1), -Dolezalek (4), Schuppanzigh (6), Moritz Lichnowsky (1), Gleichenstein -(1), Jekel (1), Marie Schindler, Anton's sister (1) and Wolfmayer (1). - -Sometime in February--it was probably at the time when Beethoven's -mind was so fixedly bent on obtaining help from London--Schindler was -either ill or suffering from an accident which kept him for a brief -space from Beethoven's bedside. The composer sent him a gift--a repast, -evidently--and a letter of sympathy so disjointed in phrase as to give -pitiful confirmation of Schindler's statement that it was the last -letter which Beethoven wrote with his own hand, and that at the time he -could no longer think connectedly. It ran: - - Concerning your accident, since it has happened, as soon as we see - each other I can send to you somebody without inconvenience--accept - this--here is something--Moscheles, Cramer--without your having - received a letter--There will be a new occasion to write one - Wednesday and lay my affairs to his heart, if you are not well by - that time one of my--can take it to the post against a receipt. - _Vale et fave_, there is no need of my assuring you of my sympathy - in your accident--do take the meal from me, it is given with all my - heart--Heaven be with you. - -More pathetic than even this letter is the picture of the sufferer -in his sick-room at the time of the fourth operation (February 27). -So wretched are his surroundings that it is scarcely impossible -to avoid the conviction that not poverty alone but ignorance and -carelessness were contributary to the woeful lack of ordinary sick-room -conveniences. Gerhard von Breuning says that after the operation -the fluid which was drained from the patient's body flowed half-way -across the floor to the middle of the room; and in the C. B. there is -a mention of saturated bedclothing and the physician suggests that -oilcloth be procured and spread over the couch. Beethoven now gave -up hope. Dr. Wawruch says: "No words of comfort could brace him up, -and when I promised him alleviation of his sufferings with the coming -of the vitalizing weather of Spring he answered with a smile: 'My -day's work is finished. If there were a physician could help me his -name should be called Wonderful.' This pathetic allusion to Handel's -'Messiah' touched me so deeply that I had to confess its correctness -to myself with profound emotion." The incident so sympathetically -described bears evidence of veracity on its face; Handel's scores were -always in Beethoven's mind during the last weeks of his life. - -Among Beethoven's visitors in February was Wolfmayer, whose coming must -have called up a sense of a long-standing obligation and purpose in -the composer's mind.[175] On February 22nd he dictated a letter to the -Schotts asking that the Quartet in C-sharp minor be dedicated to "my -friend Johann Nepomuk Wolfmayer." The letter then proceeds: - - Now, however, I come with a very important request.--My doctor - orders me to drink very good old Rhinewine. To get a thing of that - kind unadulterated is not possible at any price. If, therefore, I - were to receive a few small bottles I would show my gratitude to - you in the Caecilia. I think something would be done for me at the - customs so that the transport would not cost too much. As soon as - my strength allows you shall receive the metronomic marks for the - Mass, for I am just in the period when the fourth operation is - about to be performed. The sooner, therefore, that I receive the - Rhinewine, or Moselle, the more beneficial it may be to me in my - present condition; and I beg of you most heartily to do me this - favor for which I shall be under an obligation of gratitude to you. - -On March 1st he repeated his request: - - I am under the necessity of becoming burdensome to you again, - inasmuch as I am sending you a packet for the Royal Government - Councillor Wegeler at Coblenz, which you will have the kindness to - transmit from Mayence to Coblenz. You know without more ado that I - am too unselfish to ask you to do all these things gratuitously. - - I repeat my former request, that, namely, concerning old white - Rhinewine or Moselle. It is infinitely difficult to get any here - which is genuine and unadulterated, even at the highest price. A - few days ago, on February 27, I had my fourth operation, and yet I - am unable to look forward to my complete recovery and restoration. - Pity your devoted friend - - Beethoven. - -[Sidenote: WINE AND DELICACIES FOR THE SUFFERER] - -On March 8 the Schotts answered that they had forwarded a case of -twelve bottles of Ruedesheimer Berg of the vintage of 1806, _via_ -Frankfort, but in order that he might the sooner receive a slight -refreshment, they had sent that day four bottles of the same wine, two -pure and two mixed with herbs, to be used as a medicine which had been -prescribed for his disease. The prescription had come, they said, from -a friend who had cured many persons of dropsy with it. Before the wine -reached Vienna, on March 10, Beethoven wrote again to the Schotts: - - According to my letter the Quartet was to be dedicated to one - whose name I have already sent to you. Since then there has been - an occurrence which has led me to make a change in this. It must - be dedicated to Lieut.-Fieldmarshal von Stutterheim to whom I am - deeply indebted. If you have already engraved the first dedication - I beg of you, by everything in this world, to change it and I - will gladly pay the cost. Do not accept this as an empty promise; - I attach so much importance to it that I am ready to make any - compensation for it. I enclose the title. As regards the shipment - to my friend, the Royal Prussian Government Councillor v. Wegeler - in Coblenz, I am glad to be able to relieve you wholly. Another - opportunity has offered itself. My health, which will not be - restored for a long time, pleads for the wines which I have asked - for and which will certainly bring me refreshment, strength and - health. - -There are evidences that the wine was received on March 24. On March -29 the Schotts, under the impression that Beethoven was still alive, -wrote him again. Baron Pasqualati, in whose house he had lived for a -long time, an old friend, joined his new friends, the publishers, in -an effort to contribute to his physical comfort and well-being. There -are several little letters in which Beethoven acknowledges the receipt -of contributions from his cellar and larder. One of these, most likely -the first, has been endorsed by a strange hand as having been sent or -received on March 6. It reads: - - Hearty thanks for your health-gift; as soon as I have found out - which of the wines is the most suitable I will let you know, but I - shall abuse your kindness as little as possible. I am rejoicing - in the expectation of the compotes and will appeal to you often - for them. Even this costs me an exertion. _Sapienta pauca_--Your - grateful friend - - Beethoven. - -And a little while afterwards he writes: - - I beg you again to-day for a cherry compote, but without lemons, - entirely simple; also I should be glad to have a light pudding, - almost a suggestion of a gruel--my good cook is not yet adept in - food for the sick. I am allowed to drink _champagne_, but for - the time being I beg you to send a champagne glass with it. Now - as regards the wine: At first Malfatti wanted only Moselle; but - he asserted that there was none genuine to be obtained here; he - therefore himself gave me several bottles of Krumpholz-Kirchner and - claims that this is the best for my health, since no Moselle is to - be had. Pardon me for being a burden and ascribe it to my helpless - condition. - -And again: - - How shall I thank you enough for the glorious champagne? How - greatly has it refreshed me and will continue to do so! I need - nothing to-day and thank you for everything--whatever conclusions - you may draw in regard to the wines I beg of you to note that I - would gladly recompense you to the extent of my ability.--I can - write no more to-day. Heaven bless you for everything and for your - affectionate sympathy. - -Still another: - - Many thanks for the food of yesterday, which will also serve - for to-day.--I am allowed to eat game; the doctor thinks that - _Krametsvoegel_ (Fieldfares) are good and wholesome for me. This for - your information, but it need not be to-day. Pardon my senseless - writing--Weary of night vigils--I embrace and reverence you. - -And finally this, presumably last, letter: - - My thanks for the food sent yesterday. A sick man longs for - such things like a child and therefore I beg you to-day for the - peach compote. As regards other food I must get the advice of - the physicians. Concerning the wine they consider the Grinzinger - beneficial but prefer old Krumpholz Kirchener over all others.--I - hope this statement will not cause you to misunderstand me. - -Others who sent him gifts of wine were Streicher and Breuning, and, as -we see from one of the letters, Malfatti himself. There is considerable -talk in the C. B. about wine. His days were numbered--why should any -comfort be denied him? - -[Sidenote: THE REPUTED VISIT BY SCHUBERT] - -Concerning the last few days of his life the Conversation Books provide -absolutely no information. There is no record of the visit of Schubert -to the bedside of the dying man, but the account given by Schindler is -probably correct in the main. On page 136 of the second volume of his -biography of Beethoven, Schindler says: - - As only a few of Franz Schubert's compositions were known to him - and obsequious persons had always been busily engaged in throwing - suspicion on his talent, I took advantage of the favorable moment - to place before him several of the greater songs, such as "Die - junge Nonne," "Die Buergschaft," "Der Taucher," "Elysium" and the - Ossianic songs, acquaintance with which gave the master great - pleasure; so much, indeed, that he spoke his judgment in these - words: "Truly, the divine spark lives in Schubert," and so forth. - At the time, however, only a small number of Schubert's works had - appeared in print. - -Here no date is fixed for the incident and a little suspicion was cast -upon the story because of the fact that only "Die junge Nonne" of all -the songs mentioned had been published at the time of Beethoven's -death. Schindler helped himself measurably out of the dilemma by saying -in an article published in the "Theaterzeitung" of May 3, 1831, that -many of the songs which he laid before Beethoven were in manuscript. He -contradicts his statement made in the biography, however, by saying: -"What would the great master have said had he seen, for instance -the Ossianic songs, 'Die Buergschaft,' 'Elysium,' 'Der Taucher' and -other great ones which have only recently been published?" As usual, -Schindler becomes more explicit when he comes to explain one of his -utterances. Now he says: - - As the illness to which Beethoven finally succumbed after four - months of suffering from the beginning made his ordinary mental - activity impossible, a diversion had to be thought of which would - fit his mind and inclinations. And so it came about that I placed - before him a collection of Schubert's songs, about 60 in number, - among them many which were then still in manuscript. This was done - not only to provide him with a pleasant entertainment, but also - to give him an opportunity to get acquainted with Schubert in his - essence in order to get from him a favorable opinion of Schubert's - talent, which had been impugned, as had that of others by some of - the exalted ones. The great master, who before then had not known - five songs of Schubert's, was amazed at their number and refused - to believe that up to that time (February, 1827) he had already - composed over 500 of them. But if he was astonished at the number - he was filled with the highest admiration as soon as he discovered - their contents. For several days he could not separate himself from - them, and every day he spent hours with Iphigenia's monologue, - "Die Grenzen der Menschheit," "Die Allmacht," "Die junge Nonne," - "Viola," the "Muellerlieder," and others. With joyous enthusiasm he - cried out repeatedly: "Truly, a divine spark dwells in Schubert; - if I had had this poem I would have set it to music"; this in the - case of the majority of poems whose material contents and original - treatment by Schubert he could not praise sufficiently. Nor could - he understand how Schubert had time to "take in hand such long - poems, many of which contained ten others," as he expressed it.... - What would the master have said had he seen, for instance, the - Ossianic songs, "Die Buergschaft," "Elysium," "Der Taucher" and - other great ones which have only recently been published? In short, - the respect which Beethoven acquired for Schubert's talent was so - great that he now wanted to see his operas and pianoforte pieces; - but his illness had now become so severe that he could no longer - gratify this wish. But he often spoke of Schubert and predicted of - him that he "would make a great sensation in the world," and often - regretted that he had not learned to know him earlier. - -It is likely that the remark, "Truly, the divine spark dwells in -Schubert," as Schindler quoted it in his biography, came more than -once from Beethoven's lips. Luib heard Huettenbrenner say that one day -Beethoven said of Schubert, "He has the divine spark!" Schindler's -article in the "Theaterzeitung" was a defense of the opinion which he -had expressed that Schubert was a greater song-composer than Beethoven, -and for this reason it may be assumed that it was a little high-pitched -in expression. Beethoven knew a little about Schubert, but not much, as -appears from a remark quoted from Holz in one of the Conversation Books -of 1826. It may have been Schindler's ambition to appear as having -stood sponsor for Schubert before Beethoven which led him to ignore -Holz's remark concerning Schubert's unique genius as a writer of songs, -his interest in Handel and his patronage of Schuppanzigh's quartet -parties. Beethoven and Schubert had met. Anselm Huettenbrenner wrote to -Luib:[176] - - But this I know positively, that about eight days before - Beethoven's death Prof. Schindler, Schubert and I visited the sick - man, Schindler announced us two and asked Beethoven whom he would - see first. He said: "Let Schubert come first." - -It is characteristic of Schindler that he makes no mention of this -incident. Another incident recorded by Gerhard von Breuning deserves -to be told here. When Beethoven's friends called they usually reported -to Beethoven about the performances of his works. One day Gerhard von -Breuning found that a visitor had written in the Conversation Book: -"Your Quartet which Schuppanzigh played yesterday did not please." -Beethoven was asleep when Gerhard came and when he awoke the lad -pointed to the entry. Beethoven remarked, laconically: "It will please -them some day," adding that he wrote only as he thought best and would -not permit himself to be deceived by the judgment of the day, saying at -the end: "I know that I am an artist." - -[Sidenote: FERDINAND HILLER'S LAST VISIT] - -In a letter which Schindler wrote to Moscheles, forwarding Beethoven's, -he said: "Hummel and his wife are here; he came in haste to see -Beethoven once again alive, for it is generally reported in Germany -that he is on his deathbed. It was a most touching sight last Thursday -to see these two friends meet again." The letter was written on March -14 and the "last Thursday" was March 8th. We have an account of this -meeting in Ferdinand Hiller's "Aus dem Tonleben unserer Zeit."[177] -Hiller was then fifteen years old and had come to the Austrian Capital -with Hummel, who was his teacher. Hummel had heard in Weimar that -Beethoven was hopelessly ill and had reached Vienna on March 6; two -days later he visited his dying friend. Hiller writes: - - Through a spacious anteroom in which high cabinets were piled - with thick, tied-up parcels of music we reached--how my heart - beat!--Beethoven's living-room, and were not a little astonished - to find the master sitting in apparent comfort at the window. He - wore a long, gray sleeping-robe, open at the time, and high boots - reaching to his knees. Emaciated by long and severe illness he - seemed to me, when he arose, of tall stature; he was unshaven, - his thick, half-gray hair fell in disorder over his temples. The - expression of his features heightened when he caught sight of - Hummel, and he seemed to be extraordinarily glad to meet him. The - two men embraced each other most cordially. Hummel introduced - me. Beethoven showed himself extremely kind and I was permitted - to sit opposite him at the window. It is known that conversation - with Beethoven was carried on in part in writing; he spoke, but - those with whom he conversed had to write their questions and - answers. For this purpose thick sheets of ordinary writing-paper - in quarto form and lead-pencils always lay near him. How painful - it must have been for the animated, easily impatient man to be - obliged to wait for every answer, to make a pause in every moment - of conversation, during which, as it were, thought was condemned - to come to a standstill! He always followed the hand of the - writer with hungry eyes and comprehended what was written at a - glance instead of reading it. The liveliness of the conversation - naturally interfered with the continual writing of the visitor. I - can scarcely blame myself, much as I regret it, for not taking down - more extended notes than I did; indeed, I rejoice that a lad of - fifteen years who found himself in a great city for the first time, - was self-possessed enough to regard any details. I can vouch with - the best conscience for the perfect accuracy of all that I am able - to repeat. - - The conversation at first turned, as is usual, on domestic - affair,--the journey and sojourn, my relations with Hummel and - matters of that kind. Beethoven asked about Goethe's health with - extraordinary solicitude and we were able to make the best of - reports, since only a few days before the great poet had written - in my album. Concerning his own state, poor Beethoven complained - much. "Here I have been lying for four months," he cried out, - "one must at last lose patience!" Other things in Vienna did not - seem to be to his liking and he spoke with the utmost severity - of "the present taste in art," and "the dilettantism which is - ruining everything." Nor did he spare the government, up to the - most exalted regions. "Write a volume of penitential hymns and - dedicate it to the Empress," he remarked with a gloomy smile to - Hummel, who, however, made no use of the well-meant advice. Hummel, - who was a practical man, took advantage of Beethoven's condition - to ask his attention to a matter which occupied a long time. It - was about the theft of one of Hummel's concertos, which had been - printed illicitly before it had been brought out by the lawful - publisher. Hummel wanted to appeal to the Bundestag against this - wretched business, and to this end desired to have Beethoven's - signature, which seemed to him of great value. He sat down to - explain the matter in writing and meanwhile I was permitted to - carry on the conversation with Beethoven. I did my best, and the - master continued to give free rein to his moody and passionate - utterances in the most confidential manner. In part they referred - to his nephew, whom he had loved greatly, who, as is known, caused - him much trouble and at that time, because of a few trifles (thus - Beethoven at least seemed to consider them), had gotten into - trouble with the officials. "Little thieves are hanged, but big - ones are allowed to go free!" he exclaimed ill-humoredly. He - asked about my studies and, encouraging me, said: "Art must be - propagated ceaselessly," and when I spoke of the exclusive interest - in Italian opera which then prevailed in Vienna, he gave utterance - to the memorable words: "It is said _vox populi, vox dei_. I never - believed it." - - On March 13 Hummel took me with him a second time to Beethoven. We - found his condition to be materially worse. He lay in bed, seemed - to suffer great pains, and at intervals groaned deeply despite the - fact that he spoke much and animatedly. Now he seemed to take it - much to heart that he had not married. Already at our first visit - he had joked about it with Hummel, whose wife he had known as a - young and beautiful maiden. "You are a lucky man," he said to him - now smilingly, "you have a wife who takes care of you, who is in - love with you--but poor me!" and he sighed heavily. He also begged - of Hummel to bring his wife to see him, she not having been able - to persuade herself to see in his present state the man whom she - had known at the zenith of his powers. A short time before he had - received a present of a picture of the house in which Haydn was - born. He kept it close at hand and showed it to us. "It gave me a - childish pleasure," he said, "the cradle of so great a man!" Then - he appealed to Hummel in behalf of Schindler, of whom so much was - spoken afterwards. "He is a good man," he said, "who has taken a - great deal of trouble on my account. He is to give a concert soon - at which I promised my cooperation. But now nothing is likely - to come of that. Now I should like to have you do me the favor - of playing. We must always help poor artists." As a matter of - course, Hummel consented. The concert took place--ten days after - Beethoven's death--in the Josephstadt-Theater. Hummel improvised - in an obviously exalted mood on the Allegretto of the A major - Symphony; the public knew why he participated and the performance - and its reception formed a truly inspiring incident. - - Shortly after our second visit the report spread throughout Vienna - that the Philharmonic Society of London had sent Beethoven L100 - in order to ease his sick-bed. It was added that this surprise - had made so great an impression on the great poor man that it had - also brought physical relief. When we stood again at his bedside, - on the 20th, we could educe from his utterances how greatly he had - been rejoiced by this altruism; but he was very weak and spoke - only in faint and disconnected phrases. "I shall, no doubt, soon - be going above," he whispered after our first greeting. Similar - remarks recurred frequently. In the intervals, however, he spoke of - projects and hopes which were destined not to be realized. Speaking - of the noble conduct of the Philharmonic Society and in praise of - the English people, he expressed the intention, as soon as matters - were better with him, to undertake the journey to London. "I will - compose a grand overture for them and a grand symphony." Then, too, - he would visit Madame Hummel (she had come along with her husband) - and go to I do not know how many places. It did not occur to us to - write anything for him. His eyes, which were still lively when we - saw him last, dropped and closed to-day and it was difficult from - time to time for him to raise himself. It was no longer possible to - deceive one's self--the worst was to be feared. - - Hopeless was the picture presented by the extraordinary man when - we sought him again on March 23rd. It was to be the last time. He - lay, weak and miserable, sighing deeply at intervals. Not a word - fell from his lips; sweat stood upon his forehead. His handkerchief - not being conveniently at hand, Hummel's wife took her fine cambric - handkerchief and dried his face several times. Never shall I forget - the grateful glance with which his broken eye looked upon her. On - March 26, while we were with a merry company in the art-loving - house of Herr von Liebenberg (who had formerly been a pupil of - Hummel's), we were surprised by a severe storm between five and - six o'clock. A thick snow-flurry was accompanied by loud peals of - thunder and flashes of lightning, which lighted up the room. A few - hours later guests arrived with the intelligence that Ludwig van - Beethoven was no more;--he had died at 4:45 o'clock. - -[Sidenote: THE SIGNING OF THE WILL] - -The consultations between Beethoven and his legal advisers, Bach, -Breuning and others, concerning the proper disposition of his estate -by will, which had begun soon after Karl's departure for Iglau, had -not been brought to a conclusion when it became apparent to all that -it was high time that the document formally be executed. Dr. Bach does -not seem to have been consulted at this crisis; haste was necessary, -and on March 23 von Breuning made a draft of a will which, free from -unnecessary verbiage, set forth the wishes of the testator in three -lines of writing. Beethoven had protested against the proposition of -his friends that provision be made that Karl should not be able to -dissipate the capital or surrender any portion of it to his mother. To -this end a trust was to be created and he was to have the income during -life, the reversion being to his legitimate heirs. With this Beethoven -at length declared himself satisfied; but when Breuning placed the -draft before the dying man, who had yielded unwillingly, he copied -it laboriously but substituted the word "natural" for "legitimate." -Schindler says the copying was a labor, and when Beethoven finished it -and appended his signature he said: "There; now I'll write no more." -Breuning called his attention to the fact that controversy would ensue -from his change in the text, but Beethoven insisted that the words -meant the same thing and there should be no change. "This," says -Schindler, "was his last contradiction." Hiller's description of the -last visit of Hummel, pictures the condition of the dying man on this -day, and Schindler's statement that it was laborious for Beethoven to -copy even the few words of the will is pathetically verified by the -orthography of the document which, _verb. et lit._, is as follows: - - Mein Neffe Karl Soll alleiniger Erbe seyn, das Kapital meines - Nachlasses soll jedoch Seinen natuerlichen oder testamentarischen - Erben zufallen. - - Wien am 23 Maerz 1827. - Ludwig van Beethoven mp. - -According to Gerhard von Breuning, signatures were necessary to -several documents--the will, the transfer of the guardianship of the -nephew to von Breuning and the letter of January 3, which also made a -testamentary disposition of Beethoven's property. These signatures were -all obtained with great difficulty. The younger von Breuning places -the date on March 24th. After von Breuning, Schindler and the dying -man's brother had indicated to Beethoven, who lay in a half-stupor, -that his signature was required they raised him as much as possible and -pushed pillows under him for support. Then the documents, one after the -other, were laid before him and von Breuning put the inked pen in his -hand. "The dying man, who ordinarily wrote boldly in a lapidary style, -repeatedly signed his immortal name, laboriously, with trembling hand, -for the last time; still legibly, indeed, but each time forgetting one -of the middle letters--once an _h_, another time an_e_." - -[Sidenote: "COMOEDIA FINITA EST."] - -On the day which saw the signing of the will, Beethoven made an -utterance, eminently characteristic of him, but which, because of an -interpretation which it has received, has caused no small amount of -comment. The date is fixed as March 23rd by Schindler's letter to -Moscheles of March 24th in which he says: "Yesterday he said to me and -Breuning, 'Plaudite, amici, comoedia finita est'." Though the phrase -does not seem to be a literal quotation from any author known to have -been familiar to Beethoven, it is obviously a paraphrase of something -which he had read. According to Schindler and Gerhard von Breuning -the words were uttered in a tone of sarcastic humor. Schindler and -Dr. Wawruch (though the latter was not present) agree in saying that -he made the speech after receiving the viaticum, and it is this -circumstance, coupled with the deduction that the dying man referred to -the sacred function just performed, which greatly disturbed the minds -of some of his devout admirers. It needed not have done so; the phrase -is almost a literary commonplace and its significance has never been in -question.[178] - -When Beethoven's friends saw the end approaching, they were naturally -desirous that he receive the spiritual comfort which the offices of the -Roman Catholic church offer to the dying and it was equally natural -that Beethoven, brought up as a child of the church though careless of -his duties toward it, should, at the last, be ready to accept them. -Johann van Beethoven relates that a few days after the 16th of March, -when the physicians gave him up for lost, he had begged his brother to -make his peace with God, to which request he acceded "with the greatest -readiness." Confirmation of this is found in Dr. Wawruch's report. -Wawruch, it will be remembered, had, at the beginning of his studies, -intended to enter the priesthood. At the crisis described by Johann he -says he called Beethoven's attention to his impending dissolution "so -that he might do his duty as a citizen and to religion." He continues: - - With the greatest delicacy I wrote the words of admonition on a - sheet of paper.... Beethoven read the writing with unexampled - composure, slowly and thoughtfully, his countenance like that of - one transfigured; cordially and solemnly he held out his hand to - me and said: "Have the priest called." Then he lay quietly lost in - thought and amiably indicated by a nod his "I shall soon see you - again." Soon thereafter Beethoven performed his devotions with a - pious resignation which looked confidently into eternity and turned - to the friends around him with the words, "Plaudite, amici, finita - est comoedia!" - -Wawruch was not present at the time when the words were spoken. -Schindler's account, in a letter to the "Caecilia" dated April 12, 1827, -and printed in that journal in May, is as follows: - - On the day before (the 23rd) there remained with us only one - ardent wish--to reconcile him with heaven and to show the world - at the same time that he had ended his life a true Christian. The - Professor in Ordinary [Wawruch] therefore wrote and begged him - in the name of all his friends to receive the holy sacrament; to - which he replied quietly and firmly (_gefasst_), "I wish it." The - physician went away and left us to care for it. - -Schindler describes the administration of the sacrament, which -Beethoven received with edification, and adds that now for the first -time he seemed to believe that he was about to die; for "scarcely -had the priest left the room before he said to me and young von -Breuning, 'Plaudite, amici, comoedia finita est. Did I not always -say that it would end thus?'" ("_Habe ich nicht immer gesagt, dass -es so kommen wird?_") Here there is agreement with Wawruch, but, to -Gerhard von Breuning, Schindler said that Beethoven made the remark at -the conclusion of a long consultation after the physicians had gone -away; and this is confirmed by Gerhard von Breuning. In 1860 Anselm -Huettenbrenner wrote:[179] - - It is not true, as has been reported, that I begged Beethoven to - receive the sacrament for the dying; but I did bring it about at - the request of the wife of the music-publisher Tobias Haslinger, - now deceased, that Beethoven was asked in the gentlest manner by - Herr Johann Baptist Jenger and Madame van Beethoven, wife of the - landowner, to strengthen himself by receiving holy communion. It - is a pure invention that Beethoven spoke the words "Plaudite, - amici! Comoedia finita est!" to me, for I was not present when - the rite was administered in the forenoon of March 24, 1827. And - surely Beethoven did not make to others an utterance so completely - at variance with his sturdy character. But on the day of her - brother-in-law's death Frau v. Beethoven told me that after - receiving the viaticum he said to the priest, "I thank you, ghostly - sir! You have brought me comfort!" - -Huettenbrenner is confirmed by Johann van Beethoven, who wrote in his -brief review of his brother's last illness that when the priest was -leaving the room Beethoven said to him, "I thank you for this last -service." - -[Sidenote: INCIDENTS OF THE FINAL STRUGGLE] - - -Beethoven received the viaticum in the presence of Schindler, von -Breuning, Jenger and the wife of his brother Johann. After the priest -had taken his departure he reminded his friends of the necessity of -sending a document ceding the proprietary rights of the C-sharp minor -Quartet to the Schotts. It was drawn up and his signature to it, the -last which he wrote, was attested by Schindler and Breuning. He also -spoke of a letter of thanks to the Philharmonic Society of London and -in suggesting its tenor, comprehended the whole English people with a -fervent "God bless them!" About one o'clock the special shipment of -wine and wine mixed with herbs came from Mayence, and Schindler placed -the bottles upon the table near the bed. Beethoven looked at them and -murmured, "Pity, pity--too late!" He spoke no more. A little of the -wine was administered to him in spoonfuls at intervals, as long as -he could swallow it. Towards evening he lost consciousness and the -death-struggle began. It lasted two days. "From towards the evening of -the 24th to his last breath he was almost continually _in delirio_," -wrote Schindler to Moscheles. We have a description from Gerhard von -Breuning:[180] - - During the next day and the day following the strong man lay - completely unconscious, in the process of dissolution, breathing - so stertorously that the rattle could be heard at a distance. His - powerful frame, his unweakened lungs, fought like giants with - approaching death. The spectacle was a fearful one. Although it - was known that the poor man suffered no more it was yet appalling - to observe that the noble being, now irredeemably a prey to the - powers of dissolution, was beyond all mental communication. - It was expected as early as the 25th that he would pass away - in the following night; yet we found him still alive on the - 26th--breathing, if that was possible, more stertorously than on - the day before. - -The only witnesses of Beethoven's death were his sister-in-law and -Anselm Huettenbrenner. From the latter we have a description of the last -scene.[181] - - When I entered Beethoven's bedroom on March 26, 1827 at about 3 - o'clock in the afternoon, I found there Court Councillor Breuning, - his son, Frau van Beethoven, wife of Johann van Beethoven, - landowner and apothecary of Lenz, and my friend Joseph Teltscher, - portrait painter. I think that Prof. Schindler was also present. - -Gerhard von Breuning says that Beethoven's brother was in the room, and -also the housekeeper Sali; Schindler adds a nurse from Dr. Wawruch's -clinic. No doubt all were present at one moment or another; they came -and went as occasion or duty called. Huettenbrenner says that Teltscher -began drawing the face of the dying man, which grated on Breuning's -feelings and he made a remonstrance, whereupon the painter left the -room. Then Breuning and Schindler went away to choose a spot for the -grave. Huettenbrenner continues: - - Frau van Beethoven and I only were in the death-chamber during - the last moments of Beethoven's life. After Beethoven had lain - unconscious, the death-rattle in his throat from 3 o'clock in the - afternoon till after 5, there came a flash of lightning accompanied - by a violent clap of thunder, which garishly illuminated the - death-chamber. (Snow lay before Beethoven's dwelling.) After - this unexpected phenomenon of nature, which startled me greatly, - Beethoven opened his eyes, lifted his right hand and looked up - for several seconds with his fist clenched and a very serious, - threatening expression as if he wanted to say: "Inimical powers, - I defy you! Away with you! God is with me!" It also seemed as if, - like a brave commander, he wished to call out to his wavering - troops: "Courage, soldiers! Forward! Trust in me! Victory is - assured!"[182]. When he let the raised hand sink to the bed, his - eyes closed half-way. My right hand was under his head, my left - rested on his breast. Not another breath, not a heartbeat more! - The genius of the great master of tones fled from this world of - delusion into the realm of truth!--I pressed down the half-open - eyelids of the dead man, kissed them, then his forehead, mouth and - hands.--At my request Frau van Beethoven cut a lock of hair from - his head and handed it to me as a sacred souvenir of Beethoven's - last hour. Thereupon I hurried, deeply moved, into the city, - carried the intelligence of Beethoven's death to Herr Tobias - Haslinger, and after a few hours returned to my home in Styria. - -[Sidenote: THE CAUSE OF BEETHOVEN'S DEATH] - -It remained for modern science to give the right name to the disease -which caused the death of the greatest of all tone-poets. Dropsy, said -the world for three-quarters of a century. But dropsy is not a disease; -it is only a symptom, a condition due to disease. To Dr. Theodor von -Frimmel belongs the credit of having made it clear that the fatal -malady was cirrhosis of the liver, of which _ascites_, or _hydrops -abdominalis_, was a consequence. Beethoven had suffered from disorders -of the liver years before. In 1821, as has been noted, he suffered an -attack of jaundice. In his medical history of the case, Dr. Wawruch -stated that the cause of the disease was to be found in an "antiquated" -ailment of liver as well as defects in the abdominal organs. When he -observed the first aggravation of the disease he recorded that "the -liver plainly showed traces of hard knots, the jaundice increased." In -his report of the autopsy, Dr. Wagner said: "The liver seemed to have -shrunk to one half its normal size, to have a leathery hardness, a -greenish-blue color, and its lumpy surface, as well as its substance, -was interwoven with knots the size of a bean. All the blood-vessels -were narrow, with thickened walls and empty." The treatment prescribed -by Dr. Wawruch and adopted empirically at the suggestion of friends was -designed, not to go to the seat of the difficulty but to relieve the -dropsical condition of the abdominal cavity;--medicaments, decoctions, -the unfortunate sweat-bath, all were intended to produce liquid -evacuations from the bowels, increase the secretion of urine and induce -perspiration; the final resort was to _paracentesis_.[183] - -When Breuning and Schindler left the dying man in the care of -Huettenbrenner and Frau van Beethoven, they went to the cemetery of the -little village of Waehring, and selected a place for Beethoven's grave -in the vicinity of the burial plot of the Vering family, to which -Breuning's first wife had belonged. Their return was retarded by the -storm. When they reentered the sick-room they were greeted with the -words: "It is finished!" The immediate activities of the friends were -now directed to preparations for the funeral, the preservation of the -physical likeness of the great composer and, so far as was necessary, -the safeguarding of his possessions. In respect of the latter Gerhard -von Breuning tells of a painful incident which happened on the day -after Beethoven's death. - -Breuning, Schindler, Johann van Beethoven and Holz were met in the -lodgings to gather up the dead man's papers, particularly to look -for the seven bank-shares which the will had given to the nephew. In -spite of strenuous search they were not found and Johann let fall an -insinuation that the search was a sham. This angered von Breuning and -he left the house in a state of vexation and excitement. He returned -to the lodgings in the afternoon and the search was resumed. Then Holz -pulled out a protruding nail in a cabinet, whereupon a drawer fell -out and in it were the certificates. In later years Holz explained to -Otto Jahn: "Beethoven kept his bank-shares in a secret drawer, the -existence of which was known only to Holz. While Beethoven lay dying -his brother in vain tried to find out where it was." On a copy of this -memorandum,[184] Schindler wrote: "First of all after the death, Johann -van Beethoven searched for the shares, and not finding them cried out: -'Breuning and Schindler must produce them!' Holz was requested to come -by Breuning and asked if he did not know where they were concealed. He -knew the secret drawer in an old cabinet in which they were preserved." -Even this simple incident has given rise to contradictory stories. -Schindler, in his biography, says the place of concealment was a -secret drawer in a _Kassette_; Breuning, "in a secret compartment of -a writing-desk." In 1863, Schindler explained to Gerhard von Breuning -that the article of furniture was an ordinary clothes-press. With the -certificates were found the letter to the "Immortal Beloved" and the -portrait of the Countess von Brunswick.[185] - -On March 27th, an autopsy was performed by Dr. Johann Wagner in the -presence of Dr. Wawruch. Its significant disclosures have already been -printed here. In order to facilitate an examination of the organs of -hearing the temporal bones were sawed out and carried away. Joseph -Danhauser, a young painter who chanced to be in Vienna, received -permission from Breuning to make a plaster cast of the dead man's face. -This he did on March 28th, but the cast has little value as a portrait, -inasmuch as it was made after the autopsy, which had greatly disfigured -the features. On the same day (not "immediately after death," as has -incorrectly been stated) Danhauser made a drawing of the head of -Beethoven, which he reproduced by lithographic process. This picture -bears the inscription: "Beethoven, March 28, drawn at his death-bed, -1827," and to the left, "Danhauser." This drawing, too, was made after -the autopsy. For a bust which he modeled, the artist made use of the -cast taken by Klein in 1812. Danhauser never came in contact with -Beethoven alive. - -[Sidenote: IMPOSING FUNERAL CEREMONIES] - -The funeral took place at 3 o'clock in the afternoon of March 29th. -It was one of the most imposing functions of its kind ever witnessed -in Vienna.[186] Breuning and Schindler had made the arrangements. -Cards of invitation were given out at Haslinger's music-shop. Hours -before the appointed time a multitude assembled in front of the -Schwarzspanierhaus, and the mass grew moment by moment. Into the square -in front of the house, it is said, 20,000 persons were crowded. All the -notable representatives of art were present. The schools were closed. -For the preservation of order, Breuning had asked the help of the -military. In its report "Der Sammler" said: - - The crowd was so great that after the roomy court of Beethoven's - residence could no longer hold it the gates had to be closed until - the procession moved. The coffin containing the corpse of the great - composer had been placed on view in the court. After the clergy - were come to perform their sacred office, the guests, who had been - invited to attend these solemn functions--musicians, singers, - poets, actors--all clad in complete mourning, with draped torches - and white roses fastened to bands of crape on their sleeves, - encircled the bier and the choristers sang the _Miserere_[187] - composed by the deceased. Solemnly, sublimely the pious tones of - the glorious composition floated upwards through the silent air. - The scene was imposing. The coffin, with its richly embroidered - pall, the clergy, the distinguished men who were giving the last - escort to their colleague, and the multitude round about--all this - made a stupendous picture. - -On the conclusion of the canticle, the coffin was raised from the -bier and the door of the court was opened. The singers lifted the -coffin to their shoulders and carried it to the Trinity Church of the -Minorites in the Alserstrasse. It was difficult to order the procession -because of the surging multitude. Johann van Beethoven, von Breuning -and his son and Schindler, found their places with difficulty. Eight -chapelmasters--Eybler, Weigl, Hummel, Seyfried, Kreutzer, Gyrowetz, -Wuerfel and Gaensbacher--carried the edges of the pall. At the sides -walked the torch-bearers, among them Schubert, Castelli, Bernard, -Boehm, Czerny, Grillparzer, Haslinger, Holz, Linke, Mayseder, Piringer, -Schuppanzigh, Streicher, Steiner and Wolfmayer. In the procession -were also Mosel and the pupils of Drechsler. While passing the Rothes -Haus the sounds of the funeral march from Beethoven's Sonata, Op. -26, were heard. The cortege moved through the crowded streets to the -parish church in the Alserstrasse, where the service for the dead -was concluded with the _Libera nos Domine_ in 16 parts _a cappella_, -composed by Seyfried, sung by the choristers. - -The account of the "Sammler" continues: "The coffin was now placed in -the hearse drawn by four horses, and taken to the cemetery at Waehring. -There, too, a multitude had assembled to do the last honors to the dead -man...." The rules of the cemetery prohibiting all public speaking -within its precincts, the actor Anschuetz delivered a funeral oration -written by Grillparzer over the coffin at the cemetery gate. After the -coffin had been lowered into the grave, Haslinger handed three laurel -wreaths to Hummel, who placed them upon the coffin. A poem by Castelli -had been distributed at the house of mourning, and one by Baron von -Schlechta at the cemetery; but there was no more speaking or singing at -the burial. - -Mozart's "Requiem" was sung at the Church of the Augustinians, Lablache -taking part, on April 3rd, and Cherubini's at the Karlskirche two days -later. The grave in the cemetery at Waehring was marked by a simple -pyramid bearing the one word - - BEETHOVEN - -It fell into neglect, and on October 13th, 1863, the Gesellschaft der -Musikfreunde of Vienna caused the body to be exhumed and re-buried. On -June 21st, 1888, the remains of Beethoven and Schubert were removed to -the Central Cemetery in Vienna, where they now repose side by side. - - -FINIS. - -FOOTNOTES: - -[162] He did not live to see this wish fulfilled; but it was in the -end. Therese van Beethoven, Johann's wife, died on November 20, 1828, -at Wasserhof; Johann died in Vienna on January 12, 1848, and though -one of Beethoven's sensation-mongering biographers at one time printed -the monstrous falsehood that he had married his wife's illegitimate -daughter in order to keep the family possessions in his hands, and -at another that he had invested his money so that he might use it up -during his life and leave nothing to his heirs, the fact is that Johann -made Karl his sole heir and that under the will, after paying the costs -of probate and administration and a legacy to his housekeeper, over -42,000 florins passed into his nephew's hands. - -[163] Wawruch was a native of Nemtschuetz in Moravia. At Olmuetz he was -a student of theology, but before consecration to the priesthood he -came to Vienna as tutor and there decided to abandon the church for -medicine. In the course of time he became assistant and also son-in-law -to Professor Hildebrand, the director of the General Hospital. Thence -he went to Prague as professor of general pathology and pharmacology -and, returning to Vienna, became professor of special pathology and -medical clinics in the surgical department of the Hospital. He died -in 1842. He was accused of adhering to old-fashioned theories in his -practice and of having been antagonistic to the determinations of -pathological anatomy, and the criticisms of von Breuning and others -have pursued him through all the books devoted to Beethoven's life; -yet the scientific determinations of to-day offer justification of his -diagnosis and treatment of Beethoven's case so far as it is possible to -judge at this late day. - -[164] Holz's statement on this point has already been given in an -earlier chapter. To Otto Jahn Dr. Bertolini said: "Beethoven liked to -drink a glass of wine, but he was never a drinker or a gourmand." - -[165] "Better from my belly than from my pen," is another remark -credited to him by Seyfried. - -[166] The Royal Library acquired the autograph manuscripts of the -instrumental movements of the Symphony from Schindler, and the choral -part from the Artaria Collection of Vienna when it was dispersed by -sale in 1901. The autograph is not intact, however, the coda of the -Scherzo, consisting of four pages, having been given to Moscheles by -Schindler on September 14, 1827. Moscheles in turn gave the relic to -Henry Phillips. In July, 1907, it was purchased at a public sale by Mr. -Edward Speyer, its owner at the present writing. The autograph of the -Finale, too, had been mutilated, a page containing the five measures -immediately preceding the _Allegro energico_, 6-4 time, with the words -"Ueber Sternen muss er wohnen," having been removed. It was sold by an -autograph dealer of Berlin to Charles Malherbe, of Paris, who on his -death bequeathed it to the Conservatoire. As published, the _Allegro -non tanto_ contains eight measures which Beethoven did not write in the -autograph, but are, no doubt, an addition made by him in a revision. It -would be a beautiful act of piety to assemble the autograph score and -publish it in _facsimile_. - -[167] Mr. Thayer, who has given expression in these pages to his -belief that Schindler was honest, in transcribing this page of the -Conversation Book writes these words: "It is to be noted, first, that -the writing ('The Old Woman,' etc.) does not correspond with the rest, -and secondly, that _Die Alte_ was no longer in Beethoven's service. -It is evident on inspection and from the talk in these last books -about Thekla and other servants that Schindler inserted these words -long afterwards. The 'Es muss sein' can only refer here to Beethoven's -receipt for the ring." Whether or not Thayer suspected what may have -been Schindler's purpose in making the interlineation does not appear. - -[168] Schindler, impeaching Dr. Wawruch's accuracy here, denies that -Beethoven worked on oratorio of "Saul and David" during his last -illness. Thayer in a note directs attention to the fact that Beethoven -was confessedly deeply absorbed in Handel's scores, which he had -received only a short time before, and that before the end of December -Kiesewetter sent a request through Holz for a return of the pianoforte -score of "Saul" as no longer necessary, now that the scores were come. - -[169] Dr. von Breuning should have said "third." - -[170] Thayer procured a copy of this letter in London along with the -other Stumpff papers already mentioned. Only a fragment of the letter -has been printed hitherto in the collections of Beethoven's letters and -that, in great probability, from the draft preserved by Schindler. The -newspaper article referred to was printed in the "Modezeitung." - -[171] "Documents, Letters etc., relating to the Bust of Ludwig van -Beethoven, presented to the Philharmonic Society of London, by Frau -Fanny Linzbauer (_nee_ Ponsing). Translated and Arranged for the -Society by Doyne C. Bell, London: Published for the Philharmonic -Society by Lamborn Cock and Co., 63 New Bond Street, W. 1871." - -[172] Schindler had accompanied Beethoven's application to Moscheles -for relief with a personal letter in which he advised that the -Philharmonic Society, in case it should accede to his request, explain -to Beethoven that the amount would be sent to a responsible person -in Vienna from whom it might be drawn by degrees according to his -requirements; and that this precautionary step was taken "because, as -they well knew, some of his relations who are with him do not act quite -uprightly towards him"--a fling, of course, at the composer's brother -whom he so cordially hated; the nephew was not in Vienna. - -[173] Among Mr. Thayer's papers. - -[174] The third operation was performed on February 2, not January 28, -as Schindler says. - -[175] Wolfmayer had commissioned him years before to write a "Requiem," -and paid him for it. - -[176] Letter among Mr. Thayer's papers. - -[177] Neue Folge, 1871, p. 169 _et seq._ - -[178] "Rabelais being very sick, Cardinal du Bellay sent his page to -him to have an account of his condition; his answer was, 'Tell my Lord -in what circumstances thou findest me; I am going to leap into the -dark. He is up in the cockloft, bid him keep where he is. As for thee, -thou'lt always be a fool: let down the curtain, the farce is done.'" -... An author (Thov. His. de Jean Clopinel) who styles Rabelais a man -of excellent learning, writes, that he being importuned by some to -sign a will whereby they had made him bestow on them legacies that -exceeded his ability, he, to be no more disturbed, complied at last -with their desires; but when they came to ask him where they should -find a fund answerable to what he gave; 'as for that,' replied he, -'you must do like the spaniel, look about and search'; then, adds that -author, having said, 'Draw the curtain, the farce is over,' he died. -Likewise a monk (P. de St. Romuald, _Rel. Feuillant_) not only tells us -that he ended his life with that jest, but that he left a paper sealed -up wherein were found three articles as his last will: 'I owe much, -I have nothing, I give the rest to the poor.' The last story or that -before it must undoubtedly be false; and perhaps both are so as well -as the message by the page; though Fregius (_Comment. in Orat. Cic._, -tom. I) relates also that Rabelais said when he was dying, 'Draw the -curtain,' etc. But if he said so, many great men have said much the -same. Thus Augustus (_Nunquid vitae mimum commode peregisset_) near his -death, asked his friends whether he had not very well acted the farce -of life? And Demonax, one of the best philosophers, when he saw that he -could not, by reason of his great age, live any longer, without being -a burden to others, as well as to himself, said to those who were near -him what the herald used to say when the public games were ended, 'You -may withdraw, the show is over,' and refusing to eat, kept his usual -gaiety to the last, and set himself at ease. (Lucian)--_From Peter -Motteux's Life of Rabelais prefaced to the English translation made by -himself and Sir Thomas Urquhart._ - -[179] In a letter to Mr. Thayer which was found among Huettenbrenner's -posthumous papers and printed in the "Gratzer Tagespost" of October -23rd, 1868. - -[180] "Aus dem Schwarzspanierhause," p. 108. - -[181] Mr. Thayer visited Huettenbrenner in Gratz in June, 1860. His -transcript of what Huettenbrenner told him is reprinted in "Music and -Manners in the Classical Period," by Henry Edward Krehbiel (New York, -1898). The account in the body of the text is that contained in a -letter to Mr. Thayer. - -[182] The transcript in Mr. Thayer's note-book of Huettenbrenner's -oral recital is more sententious and dramatic: "At this startling, -awful, peal of thunder, the dying man suddenly raised his head -from Huettenbrenner's arm, stretched out his own right arm -majestically--'like a general giving orders to an army'. This was but -for an instant; the arm sunk back; he fell back; Beethoven was dead." - -[183] The revised edition of Grove's "Dictionary of Music and -Musicians," 1904, says: "The cold had developed into an inflammation -of the lungs, and on this dropsy supervened." Dr. Wawruch was -unquestionably correct in his diagnosis not only in regard to the -inflammation of the lungs but also in regard to the diseased condition -of the liver. - -[184] Preserved amongst Thayer's papers. - -[185] The attested inventory of the sale of Beethoven's effects, which, -preserved by Fischoff, passed through the hands of Otto Jahn into those -of Mr. Thayer, showed that his estate amounted to 9,885 florins, 13 -kreutzer, silver, and 600 florins, paper (Vienna standard). The market -value of the bank-shares, including an unpaid coupon attached to each, -was 1,063 florins on the day of Beethoven's death. In the item of cash -is included the L100 received from the London Philharmonic Society, -which, as has been stated, was found intact. The official summary was -set forth as follows: - - Cash 1215 fl. (C. M.) 600 fl. (W. W.) - Bank-shares 7441 fl. - Debts receivable (annuity) 144 fl. 33 k. - Jewels and silverware 314 fl. 30 k. - Clothing 37 fl. - Furniture and household - goods 156 fl. - Instruments 78 fl. - Music and manuscripts 480 fl. 30 k. - Books 18 fl. 20 k. - ------------------------------ - 9885 fl. 13 k. 600 fl. (W. W.) - -According to a statement by Aloys Fuchs to Jahn the sum realized from -the sale of the musical compositions, autographic and otherwise, -sketch-books, etc., was 1063 florins. In view of the difference -in purchasing power of money in 1827 and 1913 it may be said that -Beethoven's estate amounted to the equivalent of L3,000, or about -$15,000. - -[186] See "Aus dem Schwarzspanierhause," p. 113; Hiller's "Aus dem -Tonleben, etc." p. 177 _et seq._; "Der Sammler," April 14, 1827; -Seyfried's "Beethoven-Studien," appendix, p. 50 _et seq._ - -[187] The _Miserere_ sung in the court of the Schwarzspanierhaus and -its complement, _Amplius lava me_, were arrangements for male chorus -made by Seyfried of the Equale for Trombones composed by Beethoven in -Linz in 1812 at the request of Gloeggl for use on All Souls' Day. They -may be found in Seyfried's "Studien." - - - - -INDEX - - - PAGE - GENERAL INDEX 315 - - INDEX TO COMPOSITIONS 344 - (a) Works for Orchestra Alone 344 - (b) Instrumental Solos with Orchestra 345 - (c) Choral Works and Pieces for Soli and Chorus 345 - (d) Instrumental Duos, Trios, Quartets, etc. 346 - (e) Sonatas, etc., for Pianoforte and Other Instruments obbligato 347 - (f) For Pianoforte Alone 348 - (g) Songs with Pianoforte Accompaniment 349 - - - - -General Index - - - ~Abaco, Giuseppe dall'~: "Componimento per Musica," I, 14. - - ~Abdul Aziz, Sultan of Turkey~: I, 139. - - ~Abercrombie, General~: Not commemorated in the "Eroica," II, 25. - - "~Abyssian Prince~": Sobriquet of Bridgetower, II, 11. - - ~Achats, Duc des~: III, 101, 232. - - ~Adamberger, Antonie~: Studies "Egmont" music with B., II, 171. - - ~Adams, Mrs. Mehetabel~: Provides funds for Thayer's researches, I, x. - - ~Addison, John~: Partner of J. B. Cramer: II, 318. - - ~Addison, Joseph~: Quoted, I, 323. - - "~Adelheit von Veltheim~": Opera by Neefe, I, 37. - - ~Adler, Guido~: I, 75. - - ~Adlersburg, Carl, Edler von~: Affidavit against Maelzel, II, 275, 289. - - "~Aerndtetanz, Der~": Opera by Hiller, I, 32. - - "~Agnes Bernauer~": II, 61. - - ~Albrechtsberger~: Gives instruction to B., I, 155 _et seq._; - "Anweisung zur Composition," 155, 190; - II, 380. - - "~Alceste~": Opera by Gluck, I, 86. - - "~Alchymist, Der~": Opera by Schuster, I, 31, 107, 108. - - ~Aldrich, Richard~: Dedication; II, 333. - - ~Alexander, Czar of Russia~: Dedication of Sonatas for Pianoforte and - Violin, I, 365; - II, 20, 305; - III, 49, 86. - - "~Alexander~": Opera-text (by Schikaneder?), II, 20. - - "~Alexander's Feast~": Oratorio by Handel, III, 182. - - "~Alfred the Great~": Suggested to B. as subject for an opera, III, - 118. - - ~Allegre, d'~: French Commander, I, 6. - - "~Allgemeine Musikalische Zeitung~": Criticisms on B's. works, I, - 305, 306, 307; - taken to task by B., I, 282, 287. (See INDEX TO COMPOSITIONS.) - - ~Alstaedter, Count~: Music-lover in Bonn, I, 38. - - ~Altmann, W.~: "Ein vergessenes Streichquartett von B.", I, 349. - - "~Amant jaloux, L'~": Opera by Gretry, I, 31, 107. - - ~Ambroggio~: III, 77. - - ~Amenda, Karl F~.: I, 210; his life 233; - plans trip to Italy with B., 234; - death of, 234; - receives Quartet in F from B., 235, 272 _et seq._; - letter from B., 297; - II, 314. - - "~Ami de la Maison, L'~": Opera by Gretry, I, 31, 86. - - "~Amitie a l'Epreuve, L'~": Opera by Gretry, I, 31. - - "~Amore artigiano, L'~": Opera by Gassmann, I, 46. - - "~Amore marinaro, L'~": Opera by Weigl, I, 235. - - "~Amor's Guckkasten~": Opera by Neefe, I, 36. - - "~Amour filial, L'~": Opera by Gaveaux, II, 37. - - "~Analgilda~": Opera, I, 14. - - ~Andante and Andantino~: B. asks difference between, II, 246. - - ~Andre~: Opera, "Der Antiquitaeten-Sammler," I, 32. - - ~Andre, Joseph~: I, 357. - - ~Anfossi~: Opera, "Il Geloso in Cimento," I, 32; - "L'Avaro inamorato," I, 108. - - ~Anschuetz, Actor~: Delivers funeral oration for B., III, 312. - - "~Antiquitaeten-Sammler, Der~": Opera by Andre, I, 32. - - ~Antoine, d'~: Operas, "Das tartarische Gesetz," I, 31; - "Das Maedchen im Eichthale" ("Maid of the Oaks"), I, 32; - "Ende gut, Alles gut," I, 109. - - ~Anton, Archduke~: Dedication of March in D, II, 160. - - ~Anton, Prince of Saxony~: III, 96, 141. - - ~Antwerp~: Beethoven families living in, I, 42. - - "~Apotheke, Die~": Opera by Neefe, I, 31, 36. - - "~Apotheosis in the Temple of Jupiter Ammon~": Drama by Sporchil, - III, 118. - - ~Appleby, Samuel~: I, 218; - on Rasoumowsky Quartets, II, 75. - - ~Appony, Count~: Asks B. for quartet, I, 187, 274. - - "~Arbore di Diana, L'~": Opera by Martini, I, 107. - - "~Argene, Regina di Granata~": Opera by Reicha, I, 310. - - "~Ariadne auf Naxos~"; Musical drama by Benda, I, 29, 107, 108. - - "~Ariodante~": Opera by Mehul, II, 23. - - "~Arlequino fortunato~": Pantomime, I, 26. - - "~Armida~": Opera by Salieri, I, 86. - - ~Aerndtetanz.~ See AERNDTETANZ. - - ~Arneth, von,~ archeologist: II, 171. - - ~Arnim, Bettina von (Brentano)~: I, 197; - said to have been in love with B., 318; - II, her association with B. and Goethe, 178 _et seq._; - controversy over her letters, 179 _et seq._; - letters to Goethe, 180, 190; - letter to Pueckler-Muskau, 180; - "Ilius Pamphilius," 184; - makes B's acquaintance, 185; - letter from B., 186, 190; - her admiration reported to B. by Goethe, 198; - with her husband at Teplitz, 222, 223; - describes arrival of B. and Goethe, 226, 282. - - ~Arnold, Samuel J.~: II, 310. - - ~Arrangements~: B's opinion on, I, 349, 350. - - ~Artaria and Co.,~ Publishers: I, 202, 203; - charged with unauthorized publication of a quintet, 293 - _et seq._, 355; - original purchasers of Heiligenstadt Will, 351; - the Mass in D, III, 65. - - ~Attwood, Thomas~: II, 12. - - ~Aubert, F. S. A.~: Opera "Esther," I, 14. - - ~Auernhammer, Mme.~: II, 2. - - ~Auersperg~, Prima donna: I, 172. - - ~Augarten Concerts~: I, 238; II, 2, 42. - - ~Austria~: Invaded by Napoleon, I, 149; - court of, not invited to subscribe to the Mass in D, III, 103; - musical culture of the nobility in, I, 166; - dance-music of, II, 122. - - ~Autographs~: B's indifference to his, I, 141. - - "~Avaro inamorato~": Opera by Anfossi, I, 108. - - ~Averdonk, Johanna Helena~, Court singer: I, 24; - pupil of Johann van B., 49; - sings at B's first concert, 59, 67; - ~Severin~, author of text of Funeral Cantata, I, 131. - - "~Axur~": Opera by Salieri, I, 109, 163. - - ~Ayrton, G.~: II, 370. - - "~Azalia~": Opera by Johann Kuechler, I, 32. - - - "~Bacchus~": Opera-book by Rudolph von - Berger, II, 314. - - "~Bacco, Diane ed il Reno~": Serenata, I, 26. - - ~Bach, C. P. E.~: I, 13, 35; "Versuch, etc.," 70, 159; - "The Israelites in the Wilderness," II, 388. - - ~Bach, Dr. Johann B.~: II, 377; - III, 24, 30, 115; - advises Schindler to write biography of B., 198; - instructed by B. to make Nephew Karl his heir, 278. - - ~Bach, Johann Sebastian~: I, 13, 35; - "Well-Tempered Clavichord," 69, 143; - B. on the publication of his works, 281, 286; - B. subscribes for destitute daughter of, 287; - publication project, 303, 304; - relief for the daughter, 308; - B. offers to publish a composition for her benefit, 308; - II, 355; - "Art of Fugue," III, 123; - "Not a brook but an ocean," 203. - - ~B-a-c-h~: Overtures on, III, 123, 147. - - ~Baden~: B. gives concert for benefit of sufferers from conflagration, - II, 225. - - ~Baillot, Pierre~: Visits B., II, 55. - - ~Barbaja,~ Manager of operas: I, 320; - III, 77; - wants an opera from B., 119. - - "~Barbiere di Siviglia, II~": Opera by Paisiello, I, 108; - opera by Rossini, III, 77. - - ~Baroni~: Opera "La Moda," I, 27. - - ~Bates, Joah~: Bridgetower turns music for, II, 12. - - "~Bathmendi~": Opera by Liechtenstein, I, 304. - - ~Bathyany, Count~: I, 168. - - ~Batka, Johann~: I, 342. - - ~Battle music~: Popularity of, II, 252. - - ~Bauer, Harold~: I, xviii, 140. - - ~Baeuerle, Adolph~: II, 359. - - "~Baum der Diana, Der~" (_L'Arbore di Diana_): Opera by Martini, - I, 107. - - ~Baumeister~: Letters to, 218. - - ~Baumgarten, Major~: III, 42. - - ~Bavaria, King of~: Dedication of Choral Fantasia, II, 207, 209; - declines to subscribe for Mass in D, III, 99. - - ~Bechstein~: "Natural History of Birds"; - B. asks for, II, 148. - - ~Beethoven, ancestry~ of the family in Belgium: I, 42, 43, 44; - William (great-great-grandfather of the composer), 42; - Henry Adelard (great-grandfather), 42; - Louis, Louis Jacob, 42; - Beethoven families in Bonn before the arrival of the composer's - grandfather (Cornelius, Cornelius (2nd), Michael), 44; - branch of the family in Malines, 44. - - ~Beethoven Association~ of New York: Promotes publication of this - work, I, xviii, 140. - - ~Beethoven-Haus Verein~, in Bonn: I, xii, xvii, 52; - custodian of portrait of B's mother, 51; - B's quartet of instruments, 277; - of the portrait of Countess Brunswick, 318. - - ~Beethoven, Johann~, father of the composer: Petitions for appointment - as Court Musician, I, 11; - appointed, 13; - is promised salary, 17; - petitions for salary, 18; - salary increased, 22; - petitions for allowance of grain, 25; - date of birth, 45; - displeases his father by marrying, 47; - education of, 47; - enters Electoral chapel, 48; - teaches music, 48; - addicted to drink, 49; - appearance of, 49; - marries, 49; - lodgings and neighbors in Bonn, 51, 75; - alleged portrait of, 51; - children of, 51; - falsifies the age of the composer, 55; - describes his domestic conditions, 55; - death of his mother, 56; - birth of a daughter, 67; - domestic misfortunes, 72; - length of court service, 73; - status in chapel of Max Franz, 83; - treatment of the composer, 85; - birth of a daughter, 88; - her death, 97; - death of his wife, 93; - petitions for advance on salary, 93; - helped by Franz Ries, 95; - rescued from police by the composer, 104; - part of salary assigned to the composer, 104; - embezzles money of his son, 149; - dissipation, 148; - news of his death received by the composer, 148; - his wife, Maria Magdalena Keverich, widow Laym, 49; - appearance and character of, 50; - the composer's love for her, 50; - alleged portrait of, 51; - death mourned by the composer, 92; - record of her death, 93. - - ~Beethoven, Johann Nikolaus~, brother of the composer: Vol. I. - Birth of, 57; - apprenticed to an apothecary, 104, 190, 191, 265; - looks for bank shares after composer's death, 326; - comes into possession of Heiligenstadt Will, 351; - his name omitted from the document, 352; - defended by the author, 357 _et seq._; - described by Frau Karth, 358.--Vol. II. Demands return of loan - from the composer, 114; - purchases apothecary shop in Linz, 115; - profits from dealing with the French army, 115; - visited by the composer, 230; - the composer interferes with his domestic affairs, 230 _et seq._; - defeats his brother by marrying his housekeeper, 232.--Vol. III. - Buys estate near Gneixendorf, 19; - cuts a ridiculous figure in Vienna, 66; - takes his brother's compositions as security for loan, 66; - defense of his actions by the author, 68; - seeks reconciliation with his brother, and offers home in - Gneixendorf, 69; - letter, 72; - charged with dishonest conduct by his brother, 111, 112; - his wife's misconduct, 132, 134; - completes transaction with Schott and Sons for his brother, 180; - B. warns a visitor against him, 182; - offers B. a home in the country, 237; - condones his wife's licentiousness, 238; - the cause of B's hatred of his wife, 238; - takes action against his wife, 239; - persuades B. to go to Gneixendorf, 266; - his wife accused of improper intimacy with her nephew, 269; - date of his wife's death, 270; - makes Nephew Karl his sole heir, 270; - in constant attendance on B. during his last illness, 276; - wrongly accused by Schindler of inhuman niggardliness, 287. - - ~Beethoven, Karl Kaspar~, brother of the composer: Vol. I. Birth, 57; - intended for musical profession, 103, 191; - official career of, 265; - composes music, 266; - letters to publishers, 295, 348, 357; - charged with surreptitious sale of B's works, 350; - the Heiligenstadt Will, 353; - defended from charge of wrongdoing, 357 _et seq._; - appearance of, 358; - Ries's charge of misconduct, 361.--Vol. II. Accused by Simrock, 13; - marriage of, 65; - end of business relations with the composer, 143; - illness of, 241; - appoints the composer and his widow guardians of his son, 241; - his illness compels B. to postpone his trip to England, 251, 313; - death of, 320, 321; - will of, 320, 321; - appoints Ludwig guardian of his son, 320; - von Breuning warns B. against him, 322; - admonishes widow and brother to mutual forbearance, 321; - his wife, Theresia (Johanna) Reiss, marries, 65; - her infidelity, 65; - inherits her husband's property, 320; - made guardian under will, 321; - appointed by court, 322; - B. secures her removal as co-guardian, 331; - court grants her permission to see her son, 332; - compelled to share in expense of her son's education, 368; - efforts to see her son, 372, 393; - her son encouraged to revile her, 396; - seeks to gain possession of her son, 400; - her testimony in court, 406, 407.--Vol. III. Reprehensible - conduct, 67; - B. adopts conciliatory attitude towards, 170, 171. (For further - details of her contest for her son, her efforts to gain - possession of him, care for his education, etc., see - _Guardianship_ and _Karl van Beethoven_, under LUDWIG VAN - BEETHOVEN.) - - ~Beethoven, Karl~, nephew of the composer: Vol. I, disposes of picture - of Countess Brunswick, 335.--Vol. II. His father declares wish - that mother and uncle be his guardians, 241; - sent to Giannatasio's institute, 332; - surgical operation on, 341; - receives inheritance from Joseph Hametsch, 353; - instructed in music by Czerny, 374; - placed in care of a priest at Moedling, 392; - encouraged to revile his mother, 396; - dismissed from the priest's class, 397; - runs away from his uncle, 402; - testimony on court, 407; - returned to Giannatasio's care, 410.--Vol. III. Returns to his - mother, 1; - studies under private tutor, 4; - runs away from the institute, 33; - B. names him as his heir, 115, 132; - B's pride in his attainments, 135; - philological student at university, 171; - encouraged in disingenuousness by B., 172; - spends summer with his uncle, 184; - runs away from home, 184; - translates "God Save the King" for B., 209; - date of his death, 230; his waywardness, 250 _et seq._; - B's appealing letters, 230, 254; - leaves university for Polytechnic Institute, 250, 251; - evil companionship and amusements, 252; - held to strict accountability, 253; - discipline becomes irksome, 255; - upbraids and attacks his uncle, 256; - B's suspicion of a suicidal purpose, 257; - prepares to kill himself, 258; - shoots himself, 258 _et seq._; - effect of the attempt on B., 260, 261; - reasons for the attempt, 261; - his future discussed by B. and his friends, 262, 263 _et seq._; - B's fear of police inquiry, 263; - Karl defends his mother, 264; - life at Gneixendorf, 267 _et seq._; - accused of improper intimacy with his aunt, 269; - made sole heir of his uncle Johann's estate, 270; - slandered in regard to his care of B. in last illness, 273 - _et seq._; - preparations for a military career, 277; - quarrels with B. on eve of his departure from Vienna, 278; - made heir by B's will, 278; - letter to B., 279; - inheritance under B's formal will, 303. (For further details as to - education, contest for his possession, etc., see foregoing and - sub-title _Guardianship_ under BEETHOVEN, LUDWIG VAN.) His widow - visited by Thayer, I, xi, 192; - possessor of Maehler portrait, II, 16; - asks for money deposited as forfeit by Prince George Galitzin, - III, 230; - her daughter, Hermine, 231. - - ~Beethoven, Louis (Ludwig) van~, grandfather of the composer: As Court - Musician at Bonn, receives increase of salary, I, 10, 14; - appointed Chapelmaster, 17; - petitions for salary for his son, 18; - demands obedience from his musicians, 21; - Joseph Demmer appointed to his place as Court Musician, 22; - Lucchesi succeeds him as Chapelmaster, 23; - parentage and baptism, 42; - leaves home in Antwerp and becomes church singer in Louvain, 43; - appointed singing-master at St. Peter's, 43; - becomes Court Musician at Bonn, 43; - marries, 45; his children, 45; - services in Electoral Chapel, 45, 46; - success as opera-singer, 46; - last appearance, 47; - death of, 47; - an inebriate wife, 47; - displeased at son's marriage, 47, 50; - death of widow, 56; - length of court service, 73; - composer asks for his portrait, 301; - B's affectionate remembrance of him, III, 184. - - ~Beethoven, Ludwig van~, the composer: - _Birth of, date and place_, I, xvii, 51, 53; - controversy about house in which he was born, 51, 55, 56; - disputed dates, 53; - record of baptism, 53; - his mistaken belief, I, 54; - II, 177; - age of, falsified by his father, 55; - reputed son of the King of Prussia, III, 214, 243. - _Annuity and Shares of Bank Stock_: Annuity granted by noble - friends, I, 298, 299; - II, 137 _et seq._; - disappointed by subscribers, 170; - Kinsky fails to meet obligation, 172; - B. collects from Kinsky at Teplitz, 205; - reduction by depreciation of currency, 211 _et seq._; - payments by Archduke Rudolph, 217, 219; - B. collects from Kinsky's heirs, 222; - non-payment by Kinsky and Lobkowitz, 242 _et seq._; - Kinsky and Rudolph agree to pay in notes of redemption, 242; - B. blames Rudolph for getting him into the contract, 250, 266; - controversy with Kinsky's heirs, 259, 288, 289; - settlement, 306; - sums received by B. from the subscribers till his death, 306; - honorable conduct of Kinsky and Lobkowitz, and B's aspersions on - their character, 308; - B. seeks advice as to his right to leave Austria under the - contract, 366; - last collection of the annuity, III, 295; - bank stock owned by B. at time of death, I, 326; - II, 379; - B. objects to its use for his benefit, III, 114, 290; - discovered after his death, 309. - _Character, traits of, and illustrative acts_: Vol. I, 83, 179; - fondness for punning, 183; - disposition as teacher, 120, 121, 201, 314; - forgets his riding-horse, 200, 221; - relations with musicians in Vienna, 240, 241; - study of his character, 245 _et seq._; - exaggerations of biographers, 245; - extremes in his moral nature and temperament, 246; - consequences of defective education, 246; - ignorance of the value of money, 247; - lack of independence in judgment, 247; - high ideals, 247; - pride, 248; - sometime ungenerous treatment of friends, 248, 298; - wish to be relieved of financial cares, 249; - attitude towards transcriptions, 250; - towards criticism, 250; - susceptibility to flattery, 251; - love of nature, 251; - attractive to young people, 251; - indifference to games of chance, 252; - love of poetry, 254; his letter-writing, 255; - manner of composing, 258 _et seq._; - carelessness about dates, 281, 331, 344; - recommends virtue to his brothers, 353; - may have used his brothers as screen, 363. - Vol. II. Displeased because not placed at prince's table, 32; - suspicious nature, 62, 63; - carelessness about dates, 66; - pride leads him to leave Prince Lichnowsky in anger, 68, 69; - takes umbrage at being asked to play for French officers, 68, 69; - Dr. Bertolini on his dilatoriness and lack of etiquette, 80; - protests against holding improper relations with married - women, 85; - his opinion of his predecessors, 89; - violence of temper, throws a dish of food in a waiter's face, 91; - feelings toward his relations, 91; - indifference to his own manuscripts, 92; - uncouth and awkward, 92; - ignorance of monetary matters, 92; - peculiarities described by Seyfried, 93 _et seq._; - dislike of being disturbed at work, 93; - fondness for punning, 95; - his handwriting, 95; - denounces his friends as "princely rabble," 105, 127; - hatred of French, 117; - longing for opera-texts, 118; - disingenuous treatment of friends, 123; - hypochondria, 126; - orchestra refuses to play under him, 128; - violent gesticulations when conducting, 128; - his suspicious nature, 130; - withholds help from Ries, 140; - affectionate concern for Breuning, 155; - domestic tribulations, 155; - love of poetry, 147; - influences which created his moods, 163 _et seq._; - normally cheerful, 163; - a new infatuation makes him attentive to dress, 173; - his only animal pet, 174; - refuses to accept commission on sale of a pianoforte, 174; - conviviality, 175; - "electrical by nature," 182, 189; - how music came to him, 188; - love of nature, 193; - Goethe's description of him, 224; - self-esteem, 226; - finds fault with his friends, 237; - longing for domesticity, 240; - unthrifty habits, 244; - rails at Archduke Rudolph for getting him an annuity, 250; - whimsical designations for his friends, 280; - absent-mindedness, 287; - Weissenbach's description of him, 294; - condemns popular virtuosi, 298; - his puns, 214, 286; - aspersions on the character of Princes Kinsky and Lobkowitz, 307; - manner of composing, 316; - allows himself to ignore rules of composition, 326; - rails at the Emperor of Austria, 344; - restive under restraint, 360; - desire to be truthfully described, 361; - favors German terminology, 364; - some of his moral reflections, 365; - lack of decision, 379; - admiration for English system of government, 381; - contempt for Viennese, 381; - queries about housekeeping, 387; - unfitness to be guardian of his nephew, 392; - blames Archduke for his financial troubles, 396; - takes pay for an oratorio which he does not compose, 398; - explains that he is not of noble birth, 404; - his contempt for the plebs, 409. - - Vol. III. Domestic matters recorded in an almanac, 14; - neglects food in frenzy of composition, 15; - forgets to eat at a restaurant, 17; - dealings with publishers, 39, 44, 51 _et seq._; 62, 65 (see - "MASS IN D" and "SYMPHONY IN D MINOR" in Index of Compositions); - arrested as a tramp, 42; - his puns, 63; - attitude toward Archduke Rudolph, 70; - compares Goethe and Klopstock, 75; - his views on progress in music, 76; - an unruly patient, 85; - dilatoriness in delivery of Mass in D, 94 _et seq._; - nicknames for Schindler, 106; - manner of composing, 126; - indifference to dress, 126; - accuses Schindler of being an evil character, 133; - uses house-shutters for memoranda, 133; - rails against his brother's wife and daughter, 134; - contradictory conduct concerning titles of honor, 163; - drives his friends away from him after the first performance of - the Ninth Symphony, 167; - leaves country lodging because people are inquisitive, 176; - abuses his landlord, 177; - rebukes publisher for complaining that he had not received a work - which he had bought, 180; - attempts a joke at Haslinger's expense, 190; - enraged by a copyist, 191; - denounces one publisher to another, 191; - a poor arithmetician, 194, 277; - his drinking habits, 195 _et seq._; - jests on the name Holz, 196; - forgets that he has paid a bill, 211; - loud voice and laugh, 213; - reluctance to play in private, 213; - disagreeable manners, 214; - his publisher a "hell-hound," 216; - asks for Luther's Bible, 219; - accepts money for a Requiem which he does not compose, 220; - proud of a medal sent by the King of France, 230; - ignores promise to dedicate the Ninth Symphony to Ries, 231; - sells ring sent by the King of Prussia because it was not a - diamond, 233; - hatred of his sister-in-law because of her lewdness, 238; - looked upon by a law-clerk as an imbecile, 241; - treated as a menial by a stranger, 241; - refuses to dine with his brother's family, 243; - gesticulations while composing frighten an ox-team, 243; - welcomes royal distinctions, 244; - prone to believe evil of everybody, 249; - becomes apprehensive of death, 253; - drinking habits, 275; - charges Schindler with pilfering a petty sum of money, 281; - wants to read a full report of a speech by Channing, 283; - remarks while undergoing a surgical operation, 276; - ungracious reception of his physician's ministration, 283; - confident that his last compositions will eventually be - recognized, 300; - "Plaudite, amici, comoedia finita est," 304 _et seq._ - - _Compositions_ (INDEX OF COMPOSITIONS). - - _Concert appearances as player or conductor_: - First public appearance, I, 59; - first appearance as virtuoso, 184, 185; - plays at Romberg's concert, 199; - at Schuppanzigh's, 191, 200, 214; - in Prague, 217; - at Burgtheater, 266; - at Punto's concert, 267, 282; - asks use of Court Theatre, II, 99; - his conducting, 117, 127, 128; - Spohr's account of his manner, II, 257; - Franz Wild's description, II, 268; III, 14; - the concert of 1808, II, 127; - failure of charity concert in 1809, II, 149, 172, 215; - benefit of sufferers by fire at Baden, 225; - concerts of 1813, 248, 259; - benefit of wounded soldiers, 257; - repetition, 261; - constitution of his orchestra, 268, 269; - concerts of 1814 299, 300, 327, 388; - proposed concert in 1819, III, 22; - opening of Josephstadt Theatre, 81; - breaks down conducting "Fidelio," 83; - concerts of 1824, 176. - - _Conversation Books_: - I, xi, 229, 241, 252, 319, 320; - preserved in the Royal Library in Berlin, 377; - given to Schindler, III. 11; - their number and kind, 11; - Thayer's labor upon them, 12, 87, 89; - alterations by Schindler, III, 273, 281. - - _Deafness_: - Origin of, I, 218, 245, 261, 298; - B's strange account, 300; III, 210; - desire to conceal it, I, 300; - phenomena, 300; - B's reflections in the Heiligenstadt Will, 352; - Ries's account, 352; - Seyfried's account, II, 95, 96; - B. Hides from the noise of bombardment, 145; - Maelzel makes ear-trumpets, 233; - III, Dr. Smetana prescribes for the malady, 85; - cure attempted by Pater Weiss, II, 96; III, 85; - unaffected by dissonance, III, 202. - - _Education and Training_: - I, 57 _et seq._; - lessons from his father, 58; - weeping as child at the pianoforte, 58; - studies at Latin School, 59; - deficiency of general education, 60; - knowledge of French and Latin, 60, 65; - lessons from Van den Eeden, 61, 62, 67 _et seq._; - studies under Tobias Pfeiffer, 62, 63; - lessons on violin and viola at Bonn, 64; - organ playing with Friar Willibald, 64; - first efforts at composition, 65; - doubtful story of private studies in Latin, 65; - counterpoint and composition from Neefe, 67 _et seq._; - study of Bach, 70; - cembalist in Electoral Chapel, 72, 85; - violin lessons from Franz Ries, 85; - violin lessons from Krumpholz, 92; - lack of skill on violin, 92; - training in orchestra, 109; - shows cantata to Haydn, 116; - proposed as pupil of Haydn, 123; - extent of his obligations to Max Franz, Elector, 124; - his appreciation of Neefe as teacher, 124; - lessons from Haydn, 150 _et seq._; - his disparagement of Haydn as teacher, 152, 158; - rupture with Haydn, 155, 189; - lessons from Schenk, 152 _et seq._; - Fux's "Gradus," 153; - lessons from Salieri, 154; - from Albrechtsberger, 155, 156 _et seq._; - violin instruction from Schuppanzigh, 156; - Seyfried's "Studien, etc.," 159; - Fux, 159; - Tuerk, 159; - C. P. E. Bach, 159; - Kirnberger, 159; - Salieri, 160; - refuses to attend lectures on Kant, 182; - Plato's supposed influence, 213, 214; - effect on his character of defective training, 246; - imperfections in letters, 255; - studies made for Archduke Rudolph, II, 147, 150, 151; - self-improvement by reading, 166. - - _Guardianship of his Nephew_: Karl Kaspar van Beethoven declares - his wish that his brother and widow be joint guardians of his - son Karl, II, 241; - B. appointed guardian, 320; - the widow appointed co-guardian, 321; - court appointment, 320; - B. has himself made sole guardian, 321; - takes his ward to live with him, 341 _et seq._; - asks Kanka to collect inheritance for the lad, 353; - defective training of Karl, 361; - widow compelled to bear a share in the expense of education, - 368, 362 _et seq._; - widow tries to get possession of her son, 400 _et seq._; - not being of noble birth B. is referred to plebeian court, - 401, 404; - testimony before the court of the nobility, 403 _et seq._ - - --Vol. III. Widow renews petition to have her son sent to Imperial - Konviktschule, 2; - B. suspended from the guardianship, 2; - plans to send Nephew to Landshut University, 4, 5; - Tuscher appointed guardian, 5; - B. appeals to Archduke Rudolph for a passport to Landshut, 6; - the plan frustrated, 6; - Giannatasio refuses to readmit Karl, 6; - he is sent to Bloechlinger's Institute, 7; - Tuscher surrenders guardianship, and B. desires to resume it, 7; - is refused, 8; - the mother reappointed, with Nussboeck as co-guardian, over B's - protest, 8, 10; - B. appeals to the Landrecht, 10, 26; - Councillor Peters suggested as co-guardian, 10; - Bloechlinger takes charge of the ward, 14; - facts and merits of the case, 28 _et seq._; - B. makes personal appeal to the court, 29; - Dr. Bach a judicious adviser, 30; - the court appoints B. and Peters co-guardians, 31; - widow makes vain appeal to the Emperor, 31; - cost of B's victory, 31; - his joy, 32; - Karl runs away from the Institute, 33; - effect of B's administration of the trust on himself and his - ward, 247 _et seq._; - Dr. Reisser appointed in place of Peters, 251; - Breuning persuades B. to resign and takes his place, 264; - Hotschevar becomes guardian after the death of B. and - Breuning, 292. - - _Illness, death and burial_: I, 123, 198, 201, 281, 298, 300, - 302.--II, 27, 116, 123, 158, 190, 199, 202, 223, 227, 246, - 366, 367, 378, 395.--III, 39, 70, 71, 72, 129, 133, 170, 199, - 207, 219, 240, 241, 271 _et seq._; - medical attendance summoned, 273; - surgical operations, 276, 283, 294, 296; - frozen punch prescribed, 286; - sweat baths, 287; - cheering news from old friends, 288; - B. asks aid from the London Philharmonic Society, 289, 290; - the Society votes gift of 100 pounds, 290; - visitors at bedside of sick man, 280, 286, 289, 294, 295; - B. abandons hope, 296; - gifts of wines and delicacies, 287 _et seq._; - Hummel at the death-bed, 301; - signing the will, 303 _et seq._; - "Plaudite, amici, comoedia finita est," 304 _et seq._; - B. receives extreme unction, 305; - the death-struggle, 307; - death caused by cirrhosis of the liver, 308; - revelations of the autopsy, 309, 310; - property left by B., 310; - funeral, 312; - performances of masses for the dead by Mozart and Cherubini, 312; - pall and torch-bearers, 312; - burial at Waehring, 312; - exhumation of the body and reburial, 312. - - _Improvisation_: B's skill at an early age, I, 63; - discomfits a singer by his harmonization, 87, 119, 152, 182, 188; - Czerny's account, 196; - at the Singakademie in Berlin, 197, 217; - on "Ah, vous dirai-je, Maman," 217, 266.--Vol. II, 15; - on theme from a quartet by Pleyel, 44, 90, 375; III, 208. - - _Letters_: To Amenda, I, 297; - Arnim, Bettina von, II, 190, 196; - Artaria and Co., III, 65; - Dr. Bach, III, 115, 278; - Baumeister, II, 218; - Beethoven, Johann van, I, 192, 352; III, 69, 72, 134; - Beethoven, Karl Kaspar van, I, 352; - Beethoven, Karl van, III, 254; - Dr. Bertolini, II, 87; - Bernard, II, 398; III, 171; - Beyer, II, 259; - Bigot, II, 84; - Birchall, II, 319, 325, 336, 346, 350; - Brauchle, II, 317; - Breitkopf and Haertel, I, 286, 294, 349, 368, 369; II, 66, 67, 136, - 142, 148, 192, 198, 200, 204, 206, 214, 226; - Brentano, III, 46, 47; - Breuning, Leonore von, I, 177, 179; - Breuning, Stephan von, II, 33; - Broadwood, Thomas, II, 390; - Brunswick, Count, II, 105, 202, 219, 266; - Brunswick, Countess Therese, II, 203; - Cherubini, III, 100; - Collin, von, II, 149; - Czerny, Carl, I, 316; II, 338, 374; - Erdoedy, Countess, II, 144; - Ertmann, Baroness, II, 365; - Esterhazy, Prince, II, 107; - Frank, Mme. de, I, 283; - Giannatasio del Rio, II, 332, 349; - Gleichenstein, Count, II, 114, 140, 141, 155, 174, 175; - Goethe, II, 197; III, 98; - Haslinger, III, 44; - Hoffmeister and Kuehnel, I, 271, 281, 286, 299, 366, 370; II, 16; - Holz, III, 216; - Hummel, I, 240; II, 267; - Kanka, II, 353; - King of England, III, 113; - Kinsky, Princess, II, 243; - Koenneritz, von, III, 97; - Kotzebue, II, 213; - Kuhlau, III, 204; - Lichnowsky, Count Moritz, II, 262; III, 158; - London Musicians, II, 274; - Macco, Alexander, II, 19; - Maehler, II, 16; - Malfatti, Therese, II, 176; - Matthisson, I, 202; - Moscheles, III, 291; - Mosel, von, II, 386; - Neate, Charles, II, 339, 352, 367; - Oppersdorff, Count, II, 122; - Peters, Councillor, II, 354; - Peters, C. F., III, 58, 60, 61, 64; - Ries, Ferdinand, II, 27, 28, 29, 324, 333, 338, 340, 371, 395, - 412, 413; III, 111, 128; - Rudolph, Archduke, II, 199, 225, 235, 250, 266, 286; - III, 1, 9, 19, 20, 34, 91, 94; - Schaden, Dr., I, 92; - Schenck, 154; - Schindler, III, 102, 133, 158, 286, 295; - Schlesinger, III, 54; - Schott and Sons, III, 296, 297; - Schreyvogel, II, 304; - Schuppanzigh, III, 158; - Sebald, Amalie, II, 228; - Simrock, I, 183; II, 21; - III, 44, 56; - Smart, Sir George, II, 311, 351; - Smetana, Dr., III, 259; - Stadler, Abbe, III, 235; - Steiner, II, 364; - III, 38; - Streicher, Nanette, II, 394; - Stumpff, III, 289; - Theatre Directors in Vienna, II, 98; - Thomson, George, II, 17, 71, 157, 203, 219, 245, 308; - III, 16; - Tiedge, II, 206; - Treitschke, II, 269, 273, 277, 281, 284; - Tschiska, III, 3; - Varena, II, 246, 247, 249; - Wegeler, F. G., I, 177, 179; - Zelter, III, 18; - Zmeskall, I, 231, 355; - II, 88, 144, 155, 175, 208, 217, 245, 247, 248, 262, 271, 330, - 349, 351; - III, 288. - - _Lodgings_ (in Vienna): Alsergasse, with Prince Lichnowsky, I, - 148, 269; - Bartenstein House, II, 271, 286; - Gaertnerstrasse, II, 362, 367, 368; - Giorgi, II, 368; - Hamberger House, I, 355; - Johannesgasse, III, 184; - Josefstaedter Glacis, III, 21; - Kothgasse, III, 97; - Kreuzgasse (Ogylisches Haus), I, 269; - Kruegergasse, III, 144; - Pasqualati's House, on the Moelkerbastei, II, 31, 44, 123, - 196, 219; - Petersplatz, I, 256; - II, 12; - Rothes Haus, II, 271, 286; - Sailerstaette, II, 315, 361; - Schwarzspanierhaus, III, 212, 273, 311; - in the Theater-an-der-Wien, II, 12, 23, 35, 44; - Tiefen Graben, I, 269, 288; - Ungarstrasse, III, 140, 170; - Walfischgasse, II, 145, 155. (In the country): Baden, II, 13, - 102, 106, 107, 145, 244, 249, 251, 315; - III, 39, 70, 71, 133, 134, 137, 177, 200; - Doebling, II, 14, 31; - Gneixendorf, III, 237, 238, 239, 244, 267, 271; - Heiligenstadt, I, 349, 351; - II, 107, 110, 119, 120. 369; - Hetzendorf, I, 288, 289; - II, 45, 47, 367; - III, 95, 122, 129; - Landstrasse, III, 36, 39, 73; - Moedling, II, 380, 396; - III, 6, 14, 17, 35, 48; - Nussdorf, II, 369; - Oberdoebling, III, 69, 73; - Penzing, III, 176; - Unterdoebling, I, 269; - III, 39, 47. - - _London Philharmonic Society_: Neate buys overtures for, II, 333; - the Society's disappointment, 334; - its membership roll, 334; - B. offers to write new works for, 352, 367; - invites B. to visit London, 370, 378, 379, 380, 395, 413; - III, Hogarth's history of, 110; - the Society and the Ninth Symphony, 110 _et seq._; - 149, 177, 207, 209, 230, 232 _et seq._; - again invites B. to visit London, 186; - appealed to by B. for aid, 289; - 100 pounds voted for B's relief, 290 _et seq._; - gift reclaimed after B's death, but released, 293, 294; - part of the sum applied to funeral expenses, 302. - - _Love Affairs, Marriage Projects, B's relations with Women_: - (see also "Character," etc.), I, xvi, xxi, 120; - susceptibility to women's charms, I, 121 _et seq._, 235, 317 - _et seq._, 334; - encounter with a prince's mistress, II, 33; - passion no influence in "Fidelio," II, 166; - the "Immortal Beloved," I, xxi, 281, 292, 326, 328 _et seq._; - II, 66, 105, 106, 222, 343, 336 _et seq._, 342 (see writings in - controversy under "Grove," "La Mara," "Storck," "Prelinger," - "Chantonoine," "Rolland," "Schindler," "Nohl," "Kalischer," - "Frimmel," "Volbach," "Thomas-San-Galli," "Hale," "Tenger"); - Countess Therese Brunswick, I, 326; - relations interviewed, 340; - memoirs of, 344; - Magdalena Willmann, I, 242, 292, 337; - Therese Malfatti, I, 336; - II, 86, 106, 239; - Amalie Sebald, I, 337; - II, 206, 228, 239; - Giulietta Guicciardi, I, 343, 344, 292; - Madame Bigot, II, 84; - Marie Koschak, I, 318; - II, 383; - Bettina von Arnim, II, 366; - Fanny Giannatasio, II, 362; - an alleged "Autumnal love," II, 383; - B's contemplation of marriage, I, xvi; - offers hand to Magdalena Willmann, I, 242; - his celibacy, 242, 245, 326; - alleged proposal to Therese Malfatti, II, 178; - effect of her rejection of him, 193, 141, 142, 200, 239, 240; - a confession of disappointed love, 342; - reputed proposal to Cibbini, III, 205, 207. - - _Opera Projects_ (see "FIDELIO," in Index of Compositions): At - work on an opera when he became deaf, I, 263; - his constant longing for a text, II, 118, 202; - applies to Kotzebue for a book, II, 213; - licentious plots repugnant to him, III, 201; - subjects considered: "Macbeth" by Collin, II, 119, 151, 153; - "Bradamante" by Collin, II, 119; - intended collaboration with Varnhagen von Ense, II, 204; - "Alexander" by Schikaneder(?), II, 19, 20; - Grillparzer's "Melusine," III, 118 _et seq._; - 135, 220; - Koerner's "Return of Ulysses," II, 237; - Rudolph von Berger's "Bacchus," II, 314, 328; - "Romulus and Remus," 304, 381; - "Macbeth" (not by Collin), III, 117; - "Romeo and Juliet," 117; - Schiller's "Fiesco," 117; - Voltaire's tragedies, III, 117; - Grillparzer's "Dragomira," III, 118, 120, 122. - - _Orchestra and Organ_, B's experience with: Lessons on violin and - viola from Rovantini, I, 64; - from Ries, 99; - from Schuppanzigh, 156; - training in orchestra, 109, 111; - Schindler in error, 239; - studies organ-playing with Van den Eeden, I, 61, 64; with - Willibald Koch and Zenser, 64; - assumes Neefe's duties as organist, 69; - assistant to Neefe, 71; - appointed assistant organist in the Electoral Chapel, 74; - recommended for Court Organistship, 83, 105; - his playing, 110. - - _Personal Appearance and Portraits_: I,76, 146, 147; - "Ugly and half crazy," 243; - described by Baillot, II, 55; - described by Weissenbach, II, 294; - described by Julius Benedict, III, 139, 125.--Dress, I, 147, 322; - a new wardrobe for a new infatuation, II, 173; - changes new coat for old one for dinner, II, 186; - negligent appearance, 88, 287.--Portraits: Silhouette by - Neesen, I, 122; - paintings by Maehler, II, 15, 16; - Frimmel's discussion of B's portraits, II, 15; - miniature by Hornemann, II, 33; - Klein's mask and Danhauser's bust, II, 221; - Latronne's crayon drawing engraved by Hoefel, II, 287; - painting by Heckel, II, 338; - painting by August von Kloeber, II, 399; - lithograph by Duerck, III, 42; - painting by Ferdinand Schimon, III, 21, 41; - portrait by Joseph Stieler, III, 41; - death-mask and drawing by Danhauser, III, 310; - crayon drawing by Decker, imitated by Kriehuber, III, 176. - - _Pianoforte Study and Playing_ (see "EDUCATION"): Studies - pianoforte with his father, I, 58; - skill as a boy described by Neefe, 69, 111; - plays for Abbe Sterkel, 114; - duties as pianist to the Elector, 135; - Bach's fugues, 175; - skill in sight-reading, 180; - his playing compared with Woelffl's, 215; - described by Tomaschek, 217; - Cherubini's comments on, 220; - Spohr's criticism, II, 269; - last public appearance as pianist, 270; - his playing of "The Well-Tempered Clavichord," II, 355; - advice to Czerny as to instruction of his nephew, II, 374. - - _Religion_: Character of B's religious belief, II, 167 _et seq._; - transcription of Egyptian texts preserved by him, 168; - prayers in his note-books, 169, 249; - an expression of faith, 187; - admonishes his nephew to pray, 407; - views on church music, 414, 415; - attitude towards the Catholic Church, II, 168, III, 91; - the Mass in D, III, 91; - receives the rites for the dying, 305 _et seq._ - - _Sketchbooks_: Gelinek finds the cause of B's faults in them, - I, 257; - Nottebohm's analysis, I, 257 _et seq._, 364; - Kafka's, I, 205, 206, 209, 210; - Sketches in the British Museum, I, 205, 206, 209, 210, 261; - Petter Collection, I, 274, 290; - II, 118, 129, 151, 209, 296; - Grassnick Collection, I, 275; - II, 160; - Kessler's, I, 289, 368, 371; - Landsberger's, II, 73; - Meinert Collection, II, 150, 161; - the "Fidelio" sketches, II, 285; - Mendelssohn Collection, II, 310. - - "~Beiden Savoyarden, Die~" ("Les deux petits Savoyards"): - Opera by Dalayrac, I, 109. - - ~Belderbusch, Kaspar Anton~: Prime Minister of Elector Max - Friedrich I, 14, 15; - assumes paternity of Elector's illegitimate children, 16; - death of, 33; - secures Neefe's appointment as Court Organist, 36; - a musical amateur, 37, 118; - Countess Belderbusch, a clavier player, I, 37. - - ~Belgium~: Beethoven families residing in, in the 17th century, I, 42. - - ~Bell, Doyne C.~: "Documents, Letters, etc., relating to the Bust of - Ludwig van Beethoven presented to the Philharmonic Society of - London by Fanny Linzbauer," III, 291. - - ~Bellamy, Mr.~, English singer: II, 310. - - ~Belzer, Frau von~, Musical amateur in Bonn: I, 38. - - ~Benda, George~: His opera "Ariadne auf Naxos," I, 29, 107, 108; - "Romeo and Juliet," I, 31, 107, 108; - conductor of Seydler's company, 30. - - ~Benedict, Sir Julius~: III, 137; - his visit to B., 138 _et seq._ - - ~Berger, Rudolph von~: His opera-book "Bacchus," II, 314. - - ~Berlin~: B. visits, I, 192, 195; - faults public for not applauding, 197; - II, 226; - plays for the Singakademie, I, 197; - the Singakademie and the Mass in D, III, 104, 180. - - ~Bernadotte, General J. B.~: His association with the "Eroica," - I, _212 et seq._; - King of Sweden, III, 139. - - ~Bernard, Joseph Carl~: II, 332, 359, 398; - III, 24, 30, 171; - his "Libussa," 173; - "Der Sieg des Kreuzes," 172 _et seq._ - - "~Bernardsberg, Der.~" (See "ELISE.") - - ~Bertinotti, Mme.~: II, 75. - - ~Bertolini, Dr.~: On B's susceptibility to women, I, 318; - on the origin of the "Eroica," II, 25; - on B's dilatoriness, 76, 87; - "Un lieto brindisi," II, 280, 305, 322; - rupture of friendship with B., 341, 369. - - "~Betulia liberata~": III, 143. - - ~Betz~: "Il Riso d'Apolline," I, 26. - - ~Beyer, Dr.~: Letter to, II, 259. - - ~Bigot~, Librarian of Count Rasoumowsky: II, 73, 125, 146; - his wife, Marie, II, 84, 146. - - ~Bihler~, J. N.: III, 156. - - ~Biographers of B.~: Early, III, 197 _et seq._ - - "~Biographische Notizen.~" (See "WEGELER, F. G." and - "RIES, FERDINAND.") - - ~Birchall, Robert,~ English publisher: II, 319, 324, 325; - difficulty in getting a receipt from B., 355, _et seq._, - 345, 350, 346, 359; - death of, 351; - and the overtures bought by the Philharmonic Society, 337. - - ~Birkenstock, Joseph Melchior~: II, 178; - Antonie, II, 179. - - ~Blahetka, Leopoldine~: III, 50, 138, 157. - - ~Bland, Mrs.~, English singer: II, 310. - - "~Blendwerk, Das~" ("La fausse Magie"): Opera by Gretry, I, 107. - - ~Bloechlinger, Joseph Karl~: III, 7, 23. (See _Guardianship_ under - "BEETHOVEN, LUDWIG VAN," and "BEETHOVEN, KARL.") - - ~Boer, S. M. de~: Visits B., III, 203. - - ~Bohemian Nobility~: Musical culture of the, I, 168. - - ~Boehm~, Violinist: Plays the Quartet Op. 127, III, 192, 193; - torchbearer at B's funeral, III, 312. - - ~Boehm's Theatrical Company~: I, 86. - - ~Bolla, Signora~: B. plays at her concert, I, 191. - - ~Bonaparte, Jerome~: I, 190; II, 122; - invites B. to his court, 124, 135 _et seq._ - - ~Bonaparte, Louis~, King of Holland: II, 245, 247. - - ~Bonaparte, Napoleon~: Threatens invasion of Vienna, I, 199, 200; - the "Eroica," 213; II, 24; - B's remark: "I would conquer him!" 117; - neglects opportunity to hear the "Eroica," 149; - marches on Moscow, 221; - holds court at Dresden, 221; - effect of his downfall, 295; - and Cherubini, III, 206. - - ~Bonn, City of~: Festival in 1838, I, xvii; - selected as Electoral residence, 3; - besieged by Marlborough, 6; - restored to archbishopric of Cologne, 6; - improved by Elector Clemens August, 7; - the Comedy House, 30; - professional and amateur musicians in B's time, 31; - appearance of the city, 38 _et seq._; - Beethovens in before the arrival of the composer's grandfather, 44; - music in Max Franz's reign, 88; - theatrical companies, 112; - B's friends, 117, 125, 126; - B. leaves the city forever, 125; - B's compositions in, 129 _et seq._; - Beethoven Festival of 1845, II, 177. - - ~Boosey~, Music publisher in London: III, 111, 128; - makes contract with B. through Ries, 128. - - ~Born, Baroness~: III, 42. - - ~Boston Handel~ and ~Haydn Society~: Commissions B. to write - an oratorio, III, 87. - - ~Botticelli~, Singer: III, 169. - - ~Bouilly, J. N.~: His opera-texts, II, 36. - - ~Bowater, Mrs.~: I, 134, 145; - III, 40. - - "~Bradamante~": Opera-book by Collin, II, 19. - - ~Brahms, Johannes~: Confirms authenticity of Bonn cantatas, I, 131; - comment on the compositions of royal personages, III, 20. - - ~Brauchle~: Tutor of Count Erdoedy's children, I, 320; - II, 317. - - ~Braun, Baron~: I, 168; - invites the Rombergs to give a concert, 199, 244, 290, 348, 350; - engages Ries at B's solicitation, 360; - engages Cherubini to compose operas, II, 3; - dismisses Schikaneder, 23, 34, 35; - withdraws "Fidelio," 63; - ends his management of the Theater-an-der-Wien, 78. - --~Baroness~, I, 225, 244; - dedication of the Horn Sonata, 290. - - ~Braunhofer, Dr.~: Dedication of the "Abendlied," III, 50, 199; - canon for, 200, 219, 373; - declines call to B., 272, 274. - - ~Breimann~: II, 125. - - ~Breitkopf and Haertel~: Acquire publication rights of this - biography, I, xv; - employ Dr. Riemann to revise German edition, xv; - B's letters to, I, 286, 294, 348, 349, 364, 369; - II, 66, 67, 142, 148, 192, 198, 200, 204, 206; - B. offers them all his works, 67; - attempt to renew association with B., III, 73. - - ~Brentano, Antonie~: II, 322; - III, 128. - - ~Brentano, Clemens~: II, 196, 222. - - ~Brentano, Elizabeth~: (See ARNIM, BETTINA VON) - - ~Brentano, Franz~: II, 179, 186; - B. borrows money from, III, 39, 45, 46, 47; - loan repaid, 64, 184. - - ~Brentano, Maximiliane~: II, 179, 180, 221. - - ~Brentano, Sophie~: II, 179. - - ~Breuning, Christoph von~: I, 98, 99; - Christoph (son), I, 198, 303. - - ~Breuning, Eleonore Brigitte von~: Wife of Franz Gerhard Wegeler, - I, 99, 118, 119; - lines on B's birthday, 122; - inscription in his album, 125, 138, 300; - III, 214, 288. - - ~Breuning, Emmanuel Joseph von~: I, 98. - - ~Breuning, Georg Joseph von~: I, 98. - - ~Breuning, Dr. Gerhard~: Visited by Thayer, I, xi 96, 99, 100, 300; - opinion of B's brother Karl, II, 322, 362; - description of Johann van B., III, 66; - B's interest in him as a lad, III, 214; - on B's last illness, 247; - on the medical treatment of B., 287, 300. - - ~Breuning, Johann Lorenz von~: I, 98. - - ~Breuning, Johann Philipp von~: I, 98. - - ~Breuning, Johann Lorenz (Lenz) von~: I, 99, 119, 198; - reports to Romberg about B., 199; - B's lines in his album, 201, 202. - - ~Breuning, Madame von~: I, 99; - selects B. as teacher for her children, 100; - influence over B., 100, 188, 119, 303; - death of, 100; - dedication of the pianoforte arrangement of the Violin Concerto, - II, 134. - - ~Breuning, Marie von~: III, 213. - - ~Breuning, Stephen von~: I, 99; - intimacy with B., 119, 191, 198; - returns to Vienna, 288, 301; - B. advises his employment by the Teutonic Order, 303; - his relations with B. in Vienna, 310 _et seq._; - B's injustice toward him, 311. - --II, becomes clerk in Austrian war department, 14; - quarrels with B., 27 _et seq._; - reconciliation, 32; - receives miniature from B., 33; - poem for the second performance of "Fidelio," 61; - letter concerning the opera, 57; - B's concern for his health, 155; - death of his wife, 155; - dedication of the Violin Concerto, 162; - warns B. against his brother Karl, 322. - --III, 24, 197; - intimacy with B resumed, 213; - persuades B. to resign guardianship, 264; - objects to unqualified bequest to Nephew Karl, 279; - finds B's bank stock and the love-letter, 376. - - ~Bridgetower, George Augustus Polgreen~, Violinist: I, 186; - his career, II, 8 _et seq._; - his notes on the "Kreutzer Sonata," 10. - - ~Bridi, Joseph Anton~: II, 391. - - ~British Museum~: Sketches in I, 205, 206, 209, 210, 261. - - ~Broadwood, Thomas~: - Presents pianoforte to B., II, 390 _et seq._; III, 201, 237. - - ~Browne, Count~: I, 199; - B. calls him his "first Maecenas," 222, 244; II, 20. - --~Countess~, I, 200, 209, 227, 244. - - ~Bruehl, Count~: III, 153. - - ~Brunswick, Count Franz~: I, 322; - the Rasoumowsky quartets, II, 104; - letters from B., 105, 124, 202, 219, 245, 266; - ruined by theatrical management, 154; - dedication of Fantasia Op. 77, 195; III, 24, 170; - offers summer sojourn in Hungary to B., 179. - - ~Brunswick, Count Geza~: I, 340, 341. - - ~Brunswick, Countess Marie~: I, 340. - - ~Brunswick, Countess Therese~: I, xvi, 279; - her relations with B., 317, 322, 335 _et seq._; - sends her portrait to B., 335; - B's message to her brother, "Kiss your sister Therese," - II, 105, 161, 173; - dedication of the Sonata Op. 78, 195; - portrait of, 202; - letter to, 203, 239. - - ~Bryant, William Cullen~: Quoted I, 252. - - ~Buda-Pesth~: National Museum of, gets B's Broadwood pianoforte, - II, 392. - - "~Buona Figliuola, La~": Opera by Piccini, I, 25, 32. - - ~Burbure, Leon~: Supplies information concerning the Belgian - Beethovens, I, 42. - - ~Bureau d'Arts et Industrie~: Established, II, 35. - - ~Burney, Dr. Charles~: "Present State, etc.," quoted, I, 174. - - - ~Cache~, Singer at first performance of "Fidelio", II, 51. - - ~Caecilien-Verein~ of Frankfort: Subscription to the Mass in D, III, - 104, 106, 110, 180. - - "~Calamita di Cuori, La~": Opera by Galuppi, I, 26. - - ~Caldara~: Opera "Gioas, Re di Giuda," I, 184. - - ~Campbell, Thomas~: "The Battle of the Baltic," II, 203. - - ~Capponi, Marchese~: I, 341. - - ~Carlyle, Thomas~: II, 360. - - ~Carpani~: - Italian text for Haydn's "Creation," II, 116; - introduces Rossini to B., 360. - - ~Carriere, Moriz~: Dubious of the genuineness of B's letters to - Bettina von Arnim, II, 185. - - ~Cassel~: B. invited to become chapelmaster at, II, 122, 124, - 135 _et seq._, 141. - - ~Cassentini~, Dancer: I, 285. - - ~Castelli~: - On failure of the Concerto in E-flat, II, 215; - torchbearer and poet at B's funeral, III, 312. - - ~Castlereagh, Viscount~: II, 291. - - ~Catalani~: II, 310. - - ~Catalogue, Classified~, of B's works: II, 38. - - ~Catherine II~, Empress of Russia: II, 81. - - ~Champein~: I, 86. - - ~Channing~: B. asks for full report of speech on his death-bed, - III, 283. - - ~Chantavoine, Jean~: I, 211, 228, 337. - - ~Chappell~, Music publisher in London: II, 413. - - ~Charles XIV~ (Bernadotte), King of Sweden: III, 130. - - ~Cherubini, Luigi~: - On B's playing, I, 220, 324; - engaged to compose operas for Vienna, II, 3, 47; - B's respect for, 48; - opinion of "Fidelio," 63, 64, 202; - "Les deux Journees," II, 3, 36; III, 139; - "Lodoiska," II, 3; - "Elise," 3; - "Medea," 3; - "Faniska," 110; - asked by B. to urge subscription to Mass on King of France, - III, 100, 126; - on B. and Mozart, 205; - Schlesinger on, 206; - on B's quartets, 216; - his "Requiem" sung at B's funeral, 312. - - ~Cherubini, Madame~: On B's social conduct, I, 121. - - ~Chorley, Henry F.~: Receives and publishes B's letter to Bettina - von Arnim, II, 182, 184, 316. - - ~Churchill, John~, Earl of Marlborough: I, 6. - - ~Church Music~: B's views on, III, 203. - - ~Cibbini, Antonia~: B's offer of marriage to, III, 205, 207. - - ~Cimarosa, Domenico~: - "L'Italiana in Londra," I, 32; - "Il Matrimonio segreto," 164. - - ~Clam-Gallas, Count Christian~: I, 194. - - ~Clari, Countess Josephine di~: I, 194. - - ~Clemens August~, Elector of Cologne: I, 1; - his extravagance, 7; - succeeds to the Electorship, 7; - career of, 7; - life in Rome, 8; - Grand Master of the Teutonic Order, 7, 98; - opens strong-box of the Order, 8; - falls ill while dancing and dies, 7, 8; - entry into Bonn, 9; - his music-chapel, 9; - appoints Van den Eeden Court Organist, 10; - increases salary of B's grandfather, 10; - music in his reign, 14; - his theatre, 30; - appoints B's grandfather Court Musician, 43. - - ~Clement, Franz~, Violinist: II, 2; - conductor, 42; - B's Violin Concerto, 76; - succeeds Haering as conductor in Vienna, 112; - produces "Mount of Olives," 156, 209, and the Ninth Symphony, - III, 157 _et seq._ - - ~Clementi, Muzio~: I, 33; - encounter between him and B., II, 23, 38, 75; - contract with B. for compositions, 102; - tardy payment of debt, 131, 158; - B. on his pianoforte studies, 375; - B. sends them to Gerhard von Breuning, III, 214. - - ~Collard, F. W.~, Partner of Clementi: II, 102, 103. - - ~Collin, von~: - "Coriolan," II, 101, 102; - "Bradamante," II, 119; - "Macbeth," II, 119, 151; - "Jerusalem Delivered," II, 119, 151; - Letter to, II, 149; - asked to write a drama for Pesth, 88, 201. - - ~Cologne~: - Electors of in the 18th century, I, 1 _et seq._; - Archbishop Engelbert, 3; - civil income of Electorate, 7. - - "~Colonie, Die~" ("L'Isola d'Amore"): Opera by Sacchini, I, 108. - - ~Complete Editions~ of B's Works planned: II, 18, 38, 192; - III, 36, 54, 190, 205, 237; - Archduke Rudolph's Collection, II, 200. - - ~Congress of Vienna~: II, 288, 289. - - ~Consecutive Fifths~: B's dictum on II, 89. - - "~Contadina in Corte, La~": Opera by Sacchini, I, 26. - - ~Conti~: I, 282; II, 2. - - "~Convivo, Il~": Opera by Cimarosa, I, 107. - - "~Corsar aus Liebe~": Opera by Weigl, I, 268; II, 2. - - ~Courts of Europe~: Invited to subscribe to the Mass in D, - III, 93 _et seq._ - - ~Court Composers~: Their duties in the 18th century, I, 13. - - ~Court Theatres of Vienna~: B. asks appointment as composer for, - II, 98. - - ~Cramer, F.~, Violinist: I, 186; II, 12. - - ~Cramer, John Baptist~: I, 186; - sketch of, 218, 219; - makes B's acquaintance, 218; - his admiration for B., 219; - on B's playing, 210; II, 318; - B's opinion of him as pianist, 381. - - "~Creation, The~," Haydn's oratorio: I, 243, 266, 282, 284, 285; - II, 89, 116, 120; - receives the first metronomic marks, 223. - - ~Cressner, George~, English Ambassador at Bonn: I, 65. - - ~Cromwell~: I, viii; II, 360. - - ~Czapka~: Magistrate to whom B. appeals, III, 265. - - ~Czartoryski, Prince~: I, 271. - - ~Czernin, Count~: I, 172. - - ~Czerny, Carl~: I, 85; - anecdote about B. and Gelinek, 152; - on B's extempore playing, 196; - use of high registers of pianoforte, 223, 236; - pupil of B., 314; - duet playing with Ries, 314; - testimonial from B., 315; - memory of, 315; - rebuked by B. for changing his music, 316; - letters, 316, 322; - on the reception of the "Eroica," II, 35; - on the Rasoumowsky Quartets, 75; - on B's playing and teaching, 90; - on B's character, 91; - on the theme of the _Credo_ in the Mass in C, 107; - on the first performance of the Choral Fantasia, 130, 215, 314; - rebuked by B. for changing his music, 337; - letter, 338; - B's advice as to instruction of Nephew Karl, 374; - inaccuracies as biographer, 376; - visits B., III, 203; - torchbearer at B's funeral, 312. - - ~Czerny, Wenzel~: I, 236. - - ~Czerwensky~, Oboist: I, 239. - - - ~Dalayrac~: Operas "Nina," I, 107, 108; - "Les deux petits Savoyards," 109. - - ~Danhauser~: Makes bust of B., II, 221; - death-mask, III, 310. - - ~Dardanelli~, Singer: III, 77, 169. - - ~Decker~: Makes crayon drawing of B., III, 176. - - ~Degen~, Aeronaut: III, 62. - - ~Deiters, Dr. Hermann~, German translator of Thayer's work: - I, Dedication; 88; - writes conclusion of the biography, xv, 75, 103; - discusses date of a letter to Wegeler, 177; - on the C-sharp minor Sonata, 292; - B's letters to Bettina von Arnim, II, 197; - B's conduct towards Simrock, III, 53. - - ~De la Borde~: Opera "Die Muellerin," I, 109. - - ~Deler~ (Teller, Deller?): "Eigensinn und Launen der Liebe," opera, - I, 31. - - ~Dembscher~: III, 193; - canon, "Muss es sein?" 224, 244. - - ~Demmer~: Singer at first performance of "Fidelio," II, 50, 61; - III, 83. - - ~Demmer, Joseph~: Petitions for the post of B's grandfather, I, 22; - appointed, 23. - - ~Denmark, King of~: Subscribes for the Mass in D, III, 102, 105. - - ~Desaides~: Opera "Julie," I, 29, 107; - "Die Reue vor der That," 32; - his operas in Bonn, 86; - "Les trois Fermiers," 107. - - ~Descriptive Music~: B. and, II, 120. - - "~Deserteur, Le~": Opera by Monsigny, I, 31, 46. - - ~Dessauer, Joseph~: Buys autograph score of "Eroica," II, 24. - - "~Deux Journees, Les~": Opera by Cherubini, II, 3; III, 139. - - ~Devenne~: "Battle of Gemappe," II, 252. - - ~Deym, Countess Isabelle~: I, 342; II, 105. - - ~Deym, Countess Josephine~: I, 279, 322, 342; II, 203. - - ~Diabelli, Anton~: II, 314; - III, negotiations with B. 107; - variations on his waltz, 127 _et seq._; - commissions Sonata for four hands, 183. - - ~Dickens, Mrs.~, English singer: II, 310. - - "~Die beiden Caliphen~": Opera by Meyerbeer, II, 297. - - "~Die Muellerin~": Opera by De la Borde, I, 109. - - ~Dietrichstein, Count~: Tries to have B. appointed Imperial - Court Composer, III, 115; - sends B. texts for missal hymns, 116. - - ~Dittersdorf~: Operas "Doktor und Apotheker," I, 108, 109; - "Hieronymus Knicker," 109; - "Das rothe Kaeppchen," 109, 139, 176, 183. - - ~Dobbeler, Abbe Clemens~: Carries Trio Op. 3 to England, I, - 134, 145. - - ~Dobbler's Dramatic Company~: I, 28. - - "~Dr. Murner~": Opera by Schuster, I, 108. - - "~Doktor und Apotheker~": Opera by Dittersdorf, I, 108, 109. - - ~Dolezalek, Johann Emanuel~: I, 239; - sketch of, 368; - on the first performance of the Choral Fantasia, II, 130; - III, 294. - - ~Donaldson~, Edinburgh publisher: III, 42. - - "~Don Giovanni~": Opera by Mozart, I, 91, 107, 163, 193; - II, 204; III, 42. - - "~Donne sempre Donne, Le~": Opera by Lucchesi, I, 26. - - ~Dont, Jacob~: II, 399. - - ~Dont, Joseph Valentine~: II, 399. - - ~Donzelli~, Singer: III, 169. - - "~Dorfbarbier, Der~": Opera by Hiller, I, 36. - - "~Dorfdeputirten, Die~": Opera by Schubauer, I, 109. - - ~Dousmoulin.~ (See TOUCHEMOULIN.) - - "~Dragomira~": Drama by Grillparzer, III, 118, 120, 122. - - ~Dragonetti, Domenico~: - Makes B's acquaintance, I, 218; - skill on double-bass, 218; II, 124; - Trio in Fifth Symphony, 126, 256; - recitatives in Ninth Symphony, III, 207. - - ~Drama, German~: Cultivated in the time of Max Friedrich, - I, 28 _et seq._ - - ~Drechsler~, Chapelmaster: III, 131; - pallbearer at B's funeral, 312. - - ~Dresden~: B's intended visit to, I, 192. - - ~Drewer, Ferdinand~, Violinist: I, 23, 24. - - ~Drieberg, Baron F. J.~: "Les Ruines de Babilone," II, 202. - - ~Drosdick, Baroness~: II, 86. - - ~Duncker, Friedrich~: "Leonore Prohaska," II, 298. - - ~Duni~: Opera, "Die Jaeger und das Waldmaedchen," I, 29. - - ~Duport~: Director of the Kaernthnerthor Theatre, and the - Ninth Symphony, III, 157. - - ~Duport, Pierre~, Violoncellist: I, 195, 205. - - ~Duerck, F.~: His lithograph of Stieler's portrait, III, 42. - - ~Duschek, Madame~: I, 194, 226. - - ~Duesseldorf~: Electoral archives at, I, 5. - - ~Dutillier~: Operas, "Nanerina e Pandolfo," I, 165; - "Trionfo d'Amore," 165. - - - ~Eberl, Anton~: I, 172; II, 2. - - ~Ecclesiastical States~ of Germany: Former, I, 1, 15. - - ~Edwards, F. G.~: His sketch of Bridgetower's career, II, 11. - - ~Egyptian Text~: Preserved by B., II, 168. - - "~Ehrenpforte, Die~": Drama by Treitschke, II, 317. - - "~Eifersucht auf der Probe~": Opera by Anfossi, I, 32. - - "~Eifersuechtige Liebhaber, Der~" ("L'Amant jaloux"): Opera - by Gretry, I, 31, 107. - - "~Eigensinn und Launen der Liebe~": Opera by Deler (?), I, 31. - - "~Einsprueche, Die~": Opera by Neefe, I, 36. - - ~Electoral Chapels~: Appointments in, I, 9. - - ~Electors of Cologne~: I, 1 _et seq._ - - ~Ella, John~: II, 12; III, 32. - - ~Embel, F. X.~: III, 142. - - "~Ende gut, Alles gut~": Opera by d'Antoine, I, 109. - - ~Engelbert~, Archbishop of Cologne: I, 3. - - ~England~: B's plan to visit, II, 142; - his admiration for the English people and government, III, - 36, 76, 181, 303; - court of, not invited to subscribe to Mass in D, 104, 112. - (See "PRINCE REGENT.") - - ~English plays~ produced at Max Friedrich's court: I, 29, 30, 31. - - "~Entfuehrung aus dem Serail~": Opera by Mozart, I, 32, 107, 109. - - ~Eppinger, Heinrich~, Amateur violinist: I, 235, 274, 306; II, 2. - - ~Eppinger, Dr. Joseph~: II, 335. - - ~Erard, Sebastien~: Presents pianoforte to B., II, 21. - - ~Erdoedy, Count~: I, 172; - continued friendship for B., II, 82, 215, 271. - - ~Erdoedy, Countess Marie~: Said by Schindler to have been one - of B's loves, I, 324; - sketch, II, 82, 124; - dedication of Trios Op. 70, 132; - proposes plan to keep B. in Vienna, 136, 141; - letter of apology from B., 144, 162, 315, 319; - B's letter of condolence of death of her child, 339; - dedication of Op. 102, 357; III, 21; - dedication, 23. - - ~Erk and Boehme~: "Deutscher Liederhort," I, 278. - - "~Erlkoenig~": Song by Schubert, I, 230; III, 236. - - ~Ernst~, Violinist: Purchaser of the Heiligenstadt Will, I, 351; - and B's last quartets, III, 139. - - "~Ernst und Lucinda~" ("Eraste et Lucinde"): Opera by Gretry, I, 31. - - ~Ertmann, Baroness Dorothea~: Pupil of B., I, 322; II, 2, 83, 215; - B. consoles her grief by playing the pianoforte, 356; - dedication of Sonata Op. 101, 356, 365. - - ~Esterhazy, Count Franz~: I, 170. - - ~Esterhazy, Prince Franz Anton~: I, 172; - Princess, I, 172. - - ~Esterhazy, Count Johann Nepomuk~: I, 170. - - ~Esterhazy, Prince Nicholas~: I, 169; II, 98; - commissions B. to write a mass, 100; - letters from B., 107; - criticism of the Mass in C, 108, 116. - - ~Esterhazy, Count Niklas~: II, 98, 225. - - ~Esterhazy, Prince Paul Anton~: I, 166, 171, 189; - invited to subscribe to the Mass in D, III, 103. - - ~Esterhazy, Princess~: Dedication of the Marches Op. 45, - I, 351; II, 40, 108. - - "~Esther~": Opera by S. F. A. Auber, I, 14. - - "~Euryanthe~": Opera by Weber, III, 139, 140. - - "~Evenements imprevus, Les~": Opera by Gretry, I, 32. - - ~Ewer and Co.~: III, 13. - - ~Eybler, Joseph~: I, 165; - B's respect for him, 242; - pallbearer at B's funeral, III, 312. - - - ~Facius~, the Brothers: Amateurs in Bonn, I, 38. - - ~Falsification of B's age~: I, 55, 70, 71. - - "~Falstaff, ossia le Tre Burli~": Opera by Salieri, I, 227. - - "~Faniska~": Opera by Cherubini, II, 110. - - "~Fassbinder, Der~": Opera by Oudinet, I, 29. - - "~Fausse Magie, La~": Opera by Gretry, I, 107. - - "~Faust~," Goethe's: II, 119; III, 75, 220. - - "~Felix, ou l'Enfant trouve~": Opera by Monsigny, I, 32, 109. - - ~Felsburg, Count Stainer von~: II, 338; III, 156. - - "~Fermiers, Les trois~": Opera by Desaides, I, 107. - - ~Fidelissimo Papageno~: Nickname for Schindler, III, 102. - - "~Fiesco~": Drama by Schiller, III, 117. - - "~Filosofo di Campagna~": Opera by Galuppi, I, 25. - - ~Finanz-Patent~, Austrian: Its effect on B's annuity, - II, 211 _et seq._ - - "~Finta Giardiniera, La~": Opera by Paisiello, I, 108. - - ~Fischer, Caecilie~: I, xviii, 57, 58. - - ~Fischer, Gottfried~: I, xvii, 43, 47, 50, 51, 61, 66. - - ~Fischer Manuscript~: I, xvii, 43, 47, 50, 51, 61, 66. - - ~Fischer~: Opera, "Swetard's Zauberguertel," II, 49. - - ~Fodor, Singer~: III, 121. - - ~Fontaine, Mortier de~: II, 73. - - ~Forkel, J. N.~: Biography of Bach, I, 303; - "History of Music in Examples," II, 34. - - ~Forray, Baron Andreas von~: II, 220. - - ~Foerster, Emanuel Aloys~: I, 172; - influences B's chamber music, 273; - his son's lessons from B., II, 31, 125, 315, 380. - - ~Forti, Singer~: II, 286. - - ~Fouche, Mary de~: I, 186. - - ~Fouque, Baron de la Motte~: II, 330. - - "~Four Elements, The~": Oratorio planned by Kuffner, III, 219. - - ~Fox, Mrs. Jabez~: Acquires Thayer's posthumous papers, I, xiv; - her copy of Maehler's portrait of B., II, 16. - - "~Fra due Litiganti~": Opera by Sarti, I, 86, 109. - - ~France, King of~: Subscribes for Mass in D and strikes - medal, III, 99, 105, 230. - - ~Frank, Dr.~: Treats B., I, 300. - - ~Frank, Joseph~: I, 243. - - ~Frank, Madame.~ (See GERARDI.) - - ~Frankfort~: Caecilien-Verein in, III, 104, 106, 111, 180. - - ~Franz (Francis)~, Emperor of Austria: I, 214; III, 296. - - ~Franzensbrunn~: II, 223. - - "~Frascatana, La~": Opera by Paisiello, I, 107. - - ~Frederick II~, King of Prussia: I, 195; - reputed father of B., III, 214. - - ~Frederick III~, of Prussia, German Emperor: marries Princess - Victoria of England; a Wedding Song, III, 13. - - ~Frederick William III~, King of Prussia: I, 194, 195, 205. - - "~Freischuetz, Der~": Opera by Weber, III, 121, 135. - - ~Freudenberg, Karl Gottfried~: Visits B., III, 202. - - ~Freund, Philip~: Variation, I, 300. - - "~Freundschaft auf der Probe~" ("L'Amitie a l'Epreuve"): Opera - by Gretry, I, 131. - - ~Friedelberg~: I, 199; "Ein grosses, deutsches Volk sind wir," 200. - - ~Friedlowsky~, Clarinettist; I, 329. - - ~Fries, Count Moritz~: I, 172; - dedication of Violin Sonatas, 290; - Quintet Op, 29, 294; - collects funds for Bach's daughter, 308. - - ~Frimmel~: "Beethoven Jahrbuch," I, 255; - "Beethoven's Wohnungen," 269; - on the Bagatelles, 362, 337; - on Beethoven's portraits, II, 15. - - ~Fritzieri (Fridzeri, Frizer)~: Opera "Die seidenen - Schuhe," I, 32, 86. - - ~Fry, William Henry~, American critic: II, 358. - - ~Fuchs, Aloys~: I, 194, 276; - anecdote of B. and Haydn, 285; - owner of Heiligenstadt Will, 351; - solo singer in Troppau, II, 208, 368. - - ~Fuchs~: "Battle of Jena" arranged for two flutes, II, 252. - - ~Fugger, Countess~: Favorite of Elector Joseph Clemens, I, 3. - - ~Fugues~: B's opinion on, II, 289. - - ~Fuerstenberg, Cardinal~: I, 3; - his government of the Electorate, 5; - political vicissitudes, 5, 14. - - ~Fuss, Johann~: Opera "Romulus and Remus," II, 304. - - ~Fux, Joseph~: "Gradus ad Parnassum," I, 158, 159. - - - ~Galitzin, Prince George~: III, 230. - - ~Galitzin, Prince Nicolas Boris~: III, 73; - dedication, 81; - the last Quartets, 87, 183; - asked to appeal to Czar for subscription, 102; - controversy over payment for the Quartets, 226 _et seq._ - - ~Gallenberg, Count Wenzel Robert~: Marries Countess Guicciardi, - I, 320, 324; - associated with Barbaja, 320; - as a composer, II, 42; III, 130. - - ~Gallenberg, Count~: Son of Countess Guicciardi, I, 340. - - ~Galuppi~: Operas "Il Filosofo di Campagna," I, 25; - "La Calamita di Cuori," 26; - "Tre Amanti ridicoli," 27. - - ~Gaensbacher~: On Vogler's playing, II, 15; - pallbearer at B's funeral, III, 312. - - ~Gardiner, William~: "Italy, Her Arts, etc.," I, 131; - on the Trios Op. 3, 135; - "Sacred Melodies," III, 40; - offers B. 100 guineas for an overture, 40. - - ~Garzia, Francesco~: "Schiava finta," I, 26. - - ~Gassmann~: Opera "Die Liebe unter den Handwerkern" ("L'Amore - artigiano"), I, 31, 46. - - ~Gassner~: His projected biography of B., III, 198. - - ~Gaveaux~: "Leonore, ou l'Amour conjugal," II, 35, 36; - "L'Amour filial," 37; - "Le petit Matelot," 36. - - ~Gazanello~: Pupil of B's father, I, 49. - - "~Geitzigen in der Falle, Die~": Opera by Schuster, I, 108. - - ~Gelinek, Abbe Joseph~: Recommends B. to Schenk, I, 152; - his hatred of B., 152; - Czerny's anecdote, 152; - on B's sketchbooks, 257. - - "~Gelosie villane, Le~": Opera by Sarti, I, 32. - - "~Geloso in Cimento, II~": Opera by Anfossi, I, 32. - - ~Genney, Countess von~: II, 367. - - ~George IV~, King of England (see PRINCE REGENT): II, 11; - B's address to, III, 112, 113. - - ~Gerardi, Christine von~, Amateur singer: I, 243; - marries Joseph Frank, 243, 282; - letter to, 283; II, 3. - - ~Gesellschaft der bildenden Kuenstler~: I, 182, 202. - - ~Gesellschaft der Musikfreunde~: I, 136, 203, 225, 230, 315; II, 15; - commissions B. to write an oratorio, 325, 330, 397; III, 15, - 172 _et seq._; 175, 216; - elects B. Hon. Mem., 175, 212. - - "~Giafar~": Opera-book projected for B., II, 205. - - ~Giannatasio, Cajetan del Rio~: B's Nephew in his care, 331 _et seq._; - letters, 332, 349; - B. authorizes him to punish his ward, 373, 338, 392, 402, 410; - a wedding hymn, III, 13. - - ~Giannatasio, Fanny~: On Archduke Rudolph as B's pupil, II, 80; - her diary, 341, 361, 403; III, 2, 50. - - "~Gioas, Re di Giuda~": Oratorio by Caldara, I, 184. - - ~Girando, M. F. de~: I, 346. - - ~Glaeser, Franz~: III, 81. - - ~Gleichenstein, Count Ignaz von~: I, 333; - becomes clerk in the War Department of Austria, II, 14, 89, 104; - letters from B., 114, 132, 140, 155, 174, 175, 136, 138; - dedication of Sonata Op. 69, 141, 162, 305; III, 295. - - ~Gleimer, Claire von~: III, 84. - - ~Gloeggl, Franz~: B's visit to Linz, II, 230, 256. - - ~Gluck~: Operas "Die Pilgrimme von Mekka," I, 32, 108; - "Alceste," I, 86; - "Orfeo," 86; - "Iphigenia in Tauris," 315; II, 119. - - ~Gneixendorf~: Johann v. B. buys estate near, III, 19. - (See LODGINGS and JOHANN VAN BEETHOVEN.) - - "~God save the King~" (see INDEX TO COMPOSITIONS): II, 252, 310; - Karl translates stanza for B., III, 209. - - ~Goethe~: B's admiration for his poetry, I, 254; II, 147. - --Vol. II: "Faust," 119; - "Egmont," 153 (see COMPOSITIONS); - "Israel in der Wueste," 167; - "West-Oestliches Divan," 167; - "Wilhelm Meister," 176; - letter from Bettina von Arnim, 178; - letter to Bettina, 186, 189; - asks for songs composed by B., 189; - letter from Bettina, 190; - B's admiration, 194; - letter from B., 197; - letter to B., 197; - at Teplitz, 222 _et seq._; - goes with B. on a pleasure trip, 227; - at Karlsbad, 222, 224; - describes B., 224; - rebuked by B. for his deference to royalty, 224, 226, 227; - the meeting at Teplitz, 226. - --Vol. III. B's account to Rochlitz of his meeting, 75; - "Faust" music, 75, 220; - asked by B. to get subscription of Grand Duke of Weimar, 98, 104; - his taste in music, 99. - - ~Gossec~: I, 86. - - "~Gott erhalte unsern Kaiser~": I, 200; III, 84. - - ~Gottwaldt~, Chamber Music Director at Bonn: II, 11, 12. - - "~Graf Armand.~" (See LES DEUX JOURNEES.) - - ~Grahame~, Scottish poet: His tribute to B., II, 290. - - ~Grassalkowitz, Prince~: I, 168. - - ~Grassnick Sketchbook~: I, 275; II, 160. - - ~Gratz~: B. sends music for Ursulines, II, 214, 246 _et seq._; - Musik-Verein at, elects B. Hon. Mem., III, 72. - - ~Graun~: His "Tod Jesu," II, 89; - B's judgment on a fugue, 89. - - "~Great Mogul~": Haydn's designation of B., I, 248. - - ~Greiner, Michael~, Tenor: III, 81. - - ~Gretry~: Operas "Silvain," I, 86; - "L'Amant jaloux," 31, 107; - "L'Ami de la Maison," 31, 86; - "L'Amitie a l'Epreuve," 31; - "Lucille," 31, 86; - "Mariage des Samnites," 31; - "Eraste et Lucinde," 31; - "Zemire et Azor," 32, 86; - "Les Evenements imprevus," 32; - "Le Magnifique," 86; - "L'Amant jaloux," "La fausse Magie," 107; - "Richard, Coeur de Lion," 226, 305. - - ~Griesinger~: "Biographische Notizen ueber Joseph Haydn," - I, 249; III, 73, 76. - - ~Grillparzer~: I, 270; - on B's dress, 322; III, 117; - "Dragomira," 118, 122; - "Ottokar," 121; - "Melusine," 118 _et seq._; 135, 220; - torchbearer at B's funeral, 312; - writes funeral oration, 312; - mother of the poet, I, 270. - - ~Grimm~, the brothers: II, 181. - - ~Grosheim, Dr. G. L.~: I, 292. - - ~Grossmann, Mme.~: I, 73. - - ~Grossmann and Helmuth~: I, 35, 36, 63, 69. - - "~Grotta di Trofonio, La~": Opera by Salieri, I, 107. - - ~Grove, Sir George~: I, x, xii, xiii, xv, 336; II, 122. - - ~Guatelli~, ~Bey~ and ~Pasha~: I, 140. - - ~Gudenau, Baron von~: I, 88. - - ~Guglielmo~: Opera "Robert und Callista," I, 31, 109. - - ~Guicciardi, Countess Giulietta~: I, 243, 244; - dedication of the Sonata in C-sharp minor, 292, 322, 370; - relations with B., 319 _et seq._; - marries Count Gallenberg, 320; - pupil of B., 322; - her portrait, 355, 341; - the Rondo in G, 370; - Vol. II: 47, 106. - (See "LOVE AFFAIRS," under "B., L. v.") - - "~Guenther von Schwarzburg~": Opera by Holzbauer, I, 31, 86. - - "~Gute Nachricht~": Drama by Treitschke, II, 268, 270, 277, 317. - - ~Gyrowetz~: Respected by B., I, 241; - on the Rasoumowsky Quartets, II, 75; - pallbearer at B's funeral, III, 312. - - - ~Habich~, Dancing-master: I, 133. - - ~Hagen, J. A. Freiherr von~: I, 29; - "Wir haben Ihn wieder," 31. - - ~Hahn, Christine Elizabeth~: Wife of Buerger, II, 141. - - ~Haitzinger, Singer~: III, 83. - - ~Hale, Philip~: On the "Immortal Beloved," I, 346. - - ~Halm, Anton~, Pianist: II, 326, 388; - arranges Fugue in B-flat, III, 223. - - "~Hammerklavier~": II, 364. - - ~Hammer-Purgstall~: Book of an oratorio, II, 118; - influence on B., 167. - - ~Handel~: I, 13; - duel with Matthison, 72, 85; - "Judas Maccabaeus," 202, 205. - --Vol. II. Commemoration of, 12; - "Messiah," 12, 310, 312; - B's admiration for, 89; - "Acis and Galatea," 209, 171; - "Timotheus," 216; - "Samson," 359; - "Belshazzar," 359. - --Vol. III. B. on "Messiah," 135; - "Alexander's Feast," 182; - B's estimate, 182; - on his trumpets, 208; - "Saul," 219; - gift of his scores to B., 277, 288, 289, 294, 296. - - ~Handel and Haydn Society of Boston~: Commissions B. to write - an oratorio, III, 87. - - ~Hanslick, Dr. Eduard~: Makes known the discovery of the Bonn - cantatas, I, 130; - "Geschichte des Concertwesens in Wien," 223. - - ~Hardenburg, von~, Prussian Chancellor: II, 302. - - ~Haering~, Banker and amateur musician: I, 236; II, 112. - - ~Harrach, Count~: I, 172. - - ~Haertel, G. C.~: B. sends a letter of condolence, II, 200. - - ~Hartl, Joseph~, Director of Court Theatres: II, 127; - resignation, 201. - - ~Haslinger, Tobias~, Music publisher: II, 279; - "Ideal einer Schlacht," 279; - Canon on, III, 43, 44, 137, 169; - B. attempts a joke on him, 190; - torchbearer at B's funeral, 312. - - ~Hatzfeld, Countess~: I, 16, 37, 139. - - ~Hatzfeld, Prince~: III, 94. - - ~Hauschka~: "Gott erhalte unsern Kaiser," I, 200. - - "~Hausfreund, Der~" ("L'Ami de la Maison"): Opera by Gretry, I, 31. - - ~Hausmann~: Music lover in Berlin, I, xii. - - ~Haeussler'sche Gesellschaft~: Theatre in Bonn, I, 112. - - ~Haveckas, Ernest~: I, 12. - - ~Hawthorne~: His note-books, I, 261. - - ~Haydn, Joseph~: - Vol. I: His duties at Esterhaz, 13; - first visit to Bonn, 110; - at Godesberg, 116; - B. shows him a cantata, 116; - B. proposed as his pupil, 123; - plans to take B. to London, 125; - B's introduction to, 140; - gives B. lessons, 150 _et seq._; - B's disparagement of him as a teacher, 152; - rupture between the two, 155, 189; - his imitative music, 171; - "The Seasons," 171; - his judgment on the Trios Op. 1, 175; - dedication of the Sonata Op. 2, 186; - B. plays at his concert, 188; - writes dances for Ridotto Room, 188; - the Austrian National Hymn, 200; - "Seven Last Words," 214; - "The Creation," 243, 266, 284, 285; - Griesinger's biography, 249; - Kozeluch, 271; - on B's "Prometheus," 285. - --Vol. II: Said to have been Bridgetower's teacher, 11; - the Salomon concerts, 12; - comment on Anna Milder, 49; - his settings of Scotch songs, 70; - Marie Bigot, 89; - "The Creation" performed at birthday concert, 116, 126; - "Ritorno di Tobia," 131; - Scotch songs for Thomson, 219, 416. - --Vol. III: Mass "In tempore belli," 92; - picture of his birthplace shown to B. on his death-bed, 302. - - ~Heckermann~, Fanny: III, 81. - - "~Heilige Grab, Das~": Oratorio by Paer, II, 2. - - ~Heiligenstadt Will~: I, 339, 351 _et seq._; II, 164. - - ~Heim, Johann, Th.~: II, 8. - - "~Heinrich und Lyda~": Opera by Neefe, I, 31, 36. - - ~Heller, Ferdinand~: I, 87. - - ~Hellmesberger, Georg~: Once owner of the portrait of Countess - Brunswick, I, 335. - - ~Hellmesberger, Joseph~: Completes movement of a Violin - Concerto in C, I, 136. - - ~Henneberg, J. B.~: Chapelmaster and composer, I, 164; II, 2. - - ~Hennes~: Sees B. as child weeping at pianoforte, I, 58. - - ~Hensel, Fanny~: On the overture "Leonore No. I," II, 59. - - ~Hensler, Carl Friedrich~: III, 64, 79, 82. - - ~Herbst~: Horn-player, I, 239. - - ~Herder~: II, 167, 193. - - "~Hermann von Staufen~": Opera by Vogler, II, 4. - - "~Hermann von Unna~": Opera by Vogler, II, 4. - - ~Herzog~, Man and Wife, servants of B: II, 156. - - ~Hess-Diller, Baroness~: I, 340. - - ~Hesse-Cassel~: Elector of, not invited to subscribe for - the Mass in D, III, 93. - - ~Hesse-Darmstadt~: Grand Duke of, and the Mass in D, III, 97, 106. - - "~Hieronymus Knicker~": Opera by Dittersdorf, I, 109. - - ~Hiller, Ferdinand~: Gives Rossini's account of his meeting - with B., III, 78; - his account of Hummel's visit to B's death-bed, 301 _et seq._ - - ~Hiller, J. A.~: Operas "Die Jagd," I, 32; - "Der Aerndetanz," 32; - "Dorfbarbier," 36; - "Woechentliche Nachrichten," 35. - - ~Himmel, F. H.~: Intercourse with B. in Berlin, I, 196. - - ~Hofdemel, Mme.~: B. refuses to play for her because of a - scandal, I, 254. - - ~Hoefel, Blasius~: Engraves Latronne's crayon portrait of B., II, 287; - his story of B's arrest as a tramp, III, 42. - - ~Hoffmann, E. T. A~: On the C minor Symphony, I, 307; II, 186; - the canon on the name, III, 34. - - ~Hoffmann, Joachim~: III, 35. - - ~Hoffmann, Vincenz~: III, 35. - - ~Hoffmeister, Franz Anton~: I, 271; - letter, 271. - (See HOFFMEISTER AND KUeHNEL.) - - ~Hoffmeister and Kuehnel~: Origin of firm, I, 271; - letters, 281, 286, 294, 366, 370; III, 57; - publish the works of Bach, I, 303. - - "~Hofschmied, Der~": Opera by Philidor, I, 29. - - ~Hogarth, George~: "The Philharmonic Society of London," III, 110. - - ~Hohenlohe, Princess Marie~: II, 392. - - ~Holland~: Visited by B. as child, I, 66; - B. made Member of the Royal Institute of, II, 147; III, 163. - - ~Holz, Carl~: I, 269, 276; - and the bank stock, 326. - --Vol. III: Becomes B's factotum, 194 _et seq._; - B's jests on his name, 196; - authorized by B. to write his biography, 197; - insinuations against Schindler, 198; - letter from B., 216; - B. on his playing, 216; - seeks to divert B., 237; - reports on conduct of Karl, 253; - early in attendance on B. at last illness, 273; - marries, 281; - collects last annuity payment, 295; - torchbearer at the funeral, 312. - - ~Holzbauer~: Opera "Guenther von Schwarzburg," I, 31, 86. - - ~Homer~: Admiration felt for by B., I, 147. - - ~Hoenig~: Singer in "Fidelio," II, 278. - - ~Honrath, Jeannette d'~: I, 120, 122; III, 288. - - ~Horsalka, Johann~: III, 15, 42. - - ~Hotschevar, Jacob~: I, 351; II, 401, 405; - guardian of B's nephew, III, 292. - - ~Hradezky~, Horn-player: I, 239. - - ~Huber, Franz Xaver~: I, 289; II, 7. - - ~Hummel, Elizabeth~: On B's admiration for women, II, 181. - - ~Hummel, Johann Nepomuk~: Mozart's pupil, I, 91; - sketch of 240; - letters from B., 240, 274, 267; - his falling-out with B., II, 108 _et seq._; - his wife a sister of Roeckel, 142; - in performance of "Wellington's Victory," 262; - begins Pf. score of "Fidelio," 283; - canon for his album, 338; III, 290; - at B's death-bed, 301; - improvises at concert, 302; - pallbearer at funeral, 312. - - ~Hungary~: Visited by B. in 1809, II, 154. - - ~Huettenbrenner, Anselm~: Visited by Thayer I, x; - report of Salieri's remarks on "Fidelio," II, 64, 355; - overture to Schiller's "Robbers," 355; - his account of B's death, III, 300, 306, 307 _et seq._ - - ~Huettenbrenner, Joseph~: III, 79, 166. - - - "~Idomeneus~": Opera by Mozart, II, 101. - - ~Iken, Dr. Karl~: A programme for the Seventh Symphony, III, 37. - - ~Imitative Music~: II, 120. - - "~Immortal Beloved, The~": I, xvi. - (See LOVE AFFAIRS, etc.) - - "~Improvvisata (L') o sia la Galanteria disturbata~": Opera - by Lucchesi, I, 27. - - "~Incognito, L'~": Opera by Sarti, I, 86. - - "~Inganno scoperto, L'~": Opera by Lucchesi, I, 27, 47. - - ~Instruments~ owned by B.: I, 276. - - "~Iphigenia in Tauris~": Opera by Gluck, I, 315; II, 119. - - "~Isola d'Amore, L'~": Opera by Sacchini, I, 108. - - "~Israel in the Wilderness~": Oratorio by C. P. E. Bach, II. 388. - - "~Italiana in Londra, L'~": Opera by Cimarosa, I, 32. - - ~Italy~: B. projects journey to, II, 202. - - - ~Jacobs, Jacob~: I, 42. - - ~Jadin~: "Battle of Austerlitz," II, 252. - - "~Jagd, Die~": Opera by Hiller, I, 31. - - "~Jaeger und das Waldmaedchen, Der~": Opera by Duni, I, 29. - - ~Jahn, Otto~: Visited by Thayer, I, xi, 63, 85; - his account of B's visit to Mozart, 90, 153, 171, 329; - on Countess Guicciardi's marriage, 321; - interview with the Countess, 322; - examines love-letter, 328; - his edition of "Fidelio," II, 45, 285; - note on the compositions sold to Clementi, 104; - his opinion on Schindler as biographer, 376. - - ~Jeitteles, Alois~: "An die ferne Geliebte," II, 243. - - ~Joachim, Joseph~: I, xii. - - ~Joseph Clemens,~ Elector of Cologne: I, 1, 3 _et seq._; - his favorites, 3; - consecrated by Fenelon, 3, 6; - a unique composer, 4; - his music-chapel, 5; - sides with Louis IV in war, 5; - restored to Electoral dignity, 6; - death of, 7. - - ~Joseph I~, Emperor of Germany: I, 6. - - ~Joseph II~, Emperor of Germany: I, 107; - death of, 130; - interest in German opera, 163. - - ~Josephstadt Theatre~: Opening of, II, 81. - - "~Judah~": Oratorio by Gardiner, III, 40. - - "~Judas Maccabaeus~": Oratorio by Handel, I, 202, 205. - - "~Julie~": Opera by Desaides, I, 29, 107. - - ~Junker, Carl Ludwig~: Describes B's Pf. playing, I, 114. - - - ~Kafka, J. N.~: His sketchbook, I, 205, 206, 209, 210, 261, 362. - - ~Kaiser, Fraeulein~, Singer: III, 81. - - ~Kalischer, Dr. A. C.~: I, 235; - his collection of B's letters, 255, 278, 293; - and the "Immortal Beloved," 336, 337. - - ~Kanka~, Councillor: I, 194, 195. - - ~Kanka, Jeannette~: I, 195. - - ~Kanka, Dr. Johann~: Effects compromise with Kinsky's heirs, - II, 288, 353. - - ~Kanne, Friedrich August~: II, 358; III, 117, 176. - - ~Kant, Immanuel~: B. refuses to hear lectures on, I, 182; - II, 166, 214, 167; III, 25. - - ~Karajan, Prof.~: I, 123; II, 305. - - ~Karl, Duke of Lorraine~, Archduke of Austria: I, 77, 288; II, 12. - - ~Karlsbad~: B's visit to, II, 223. - - ~Karth, Frau~: I, 75, 103, 117, 119; - description of B's brothers, 358. - - ~Kastner, Emil~: His estimate of B's letters, I, 255. - - ~Kaufmaennischer Verein~ of Vienna: Elects B. Hon. Mem., III, 21. - - "~Kaufmann von Smyrna, Der~": Opera by Juste, I, 32. - - ~Kayser, Joseph~, Instrument maker: I, 10. - - ~Kees, von~, Court Councillor: I, 166, 170. - - ~Keglevich, Countess "Babette"~: I, 209, 227, 245; - said to have been one of B's loves, 318; - dedication to her, 318. - - ~Keglevich de Busin, Count Karl~: I, 245. - - "~Kein Dienst bleibt unbelohnt~": Opera, I, 108. - - ~Kerich, Abraham~, ~Helene~ (Mme. von Breuning), and - ~Stephen~: I, 98, 99, 101. - - ~Kessler~: Sketchbook, I, 289, 368, 371. - - ~Kewerich, Heinrich~, Electoral cook: I, 49; - his widowed daughter marries the father of B., I, 49. - - ~Kiesewetter, R. G.~: I, 230. - - ~Kilitzky, Fraeulein~: II, 129. - - ~Kinsky, Prince Ferdinand~: I, 170, 172; II, 113; - subscribes in the Annuity Contract, 139, 146; - his payments, 170, 172, 205, 213, 222; - agrees to pay in notes of redemption, 242; - reduction of obligation by the Finanz-Patent, 212; - B. begins legal proceedings against his heirs, 259, 288; - settlement, 306; - sum paid annually under the contract, 306. - - ~Kinsky, Princess~: Dedication of Songs Op. 75, II, 195; - letter from B., 243. - - ~Kinsky, Prince Joseph~: I, 170. - - ~Kirnberger~: I, 159. - - ~Klein, Prof.~: Makes mask of B's face, II, 221; III, 311. - - ~Klingemann~: His drama "Moses," II, 297. - - ~Klober, August von~: Paints B's portrait, II, 399. - - ~Klopstock~: B's admiration for his poetry, I, 254; III, 75. - - ~Klos Theatrical Troupe~: I, 105. - - ~Kneisel, Dr. C. M.~: I, 55. - - ~Kobler Family~: I, 285. - - ~Koch, Barbara~ ("Babette"): I, 117, 118, 178. - - ~Koch, Friar Willibald~: Gives organ lessons to B., I, 64. - - ~Koechel~: Collection of B's letters, II, 248. - - ~Koczwara~: "Battle of Prague," II, 252. - - "~Koenig Axur~": Opera by Salieri, I, 109. - - "~Koenig von Venedig~" ("Il Re Teodoro"): Opera by Paisiello, I, 108. - - ~Koenneritz, von~: The Mass in D, III, 96, 97, 130. - - ~Kopfermann, Albert~: I, 280. - - ~Koerner, Theodor~: On failure of the E-flat Concerto, II, 215. - - ~Koschak, Marie~: I, 318. - - ~Koester-Schlegel~, Singer: III, 85. - - ~Kotzebue~: Founds "Der Freymuethige," II, 1; - account of music in Vienna, 1; - "Der Leibkutscher Peters III." 1; - "Ruinen von Athen," 161, 201; - B. asks him for opera-book, 213. - - ~Kozeluch, Leopold~: I, 172; - dances for the Ridotto, 188; - on the Trio in C minor, 271; - Haydn, 271; - and Thomson's songs, II, 70; - B's "Miserabilis," 219; - Scotch airs for Thomson, 200. - - ~Kraft, Anton~: I, 170; - sketch of, 238; II, 8, 41. - - ~Krasinsky, Rochus~: II, 270. - - ~Krehbiel, H. E.~: Undertakes English version of Thayer's - biography, I, viii, xiii; - use of original manuscript, viii; - communications with Thayer and Deiters, viii; - his procedure, xv; - on the C-sharp minor Sonata, 292; - "The Pianoforte and its Music," 292; - defense of Thayer's hypothesis concerning the - "Immortal Beloved," 317; - on the love-letter, 336 _et seq._; - "Music and Manners in the Classical Period," - II, 11; III, 307; - on the overtures to "Fidelio," II, 59. - - ~Kreissle, Heinrich von~: III, 79. - - ~Krenn, Michael~: III, 241, 267. - - ~Krenn~, Music Director: II, 369. - - ~Kretschmer~: "Deutsche Volkslieder," I, 278. - - ~Kreutzer, Conradin~: III, 166; - pallbearer at B's funeral, 312. - - ~Kreutzer, Rudolph~: II, 9, 21. - - ~Kriehuber~: Imitates Decker's portrait of B., III, 176. - - ~Krupp~: Court Councillor, on B's boyhood, I, 61. - - ~Kuechler, Johann~: Opera "A alia," I, 32. - - ~Kudlich, Joseph~: Tutor of B's nephew, III, 4. - - ~Kuenberg, Countess~: I, 340. - - ~Kuffner, Christian~: His text of the Choral Fantasia, - II, 129, 133, 369; - plans an oratorio, III, 219. - - ~Kuhlau, Friedrich~: Visit to B, III, 204. - - ~Kuenstler-Pensions-Institut~: I, 211. - - ~Kurzbeck, Mme.~, Amateur pianist: II, 2. - - ~Kyd, Major-General Alexander~: Commissions B. to write - a symphony, 344, 345. - - - ~Lablache~, Singer: III, 77, 121, 312. - - ~Laibach~: Philharmonic Society elect B. Hon. Mem., III, 14. - - ~Lalande~: III, 77. - - ~La Mara (Marie Lipsius)~: I, 292, 336; - letter from Thayer on the "Immortal Beloved," I, 339; - her book, 339; - "Classisches und Romantisches aus der Tonwelt," 338; II, 203. - - ~Landsberger~: Sketches, II, 73. - - ~Landshut University~: III, 4. - - ~Languider, Karoline~: On B's love-affairs, I, 341. - - ~Latilla~: Opera "La Pastorella al Soglio," I, 26. - - ~Latronne~: Makes crayon portrait of B., II, 287. - - ~Laym, Maria Magdalena (or Leym)~: B's mother. - (See BEETHOVEN, JOHANN VAN.) - - ~Lebewohl~ and ~Adieu~: Differentiated by B., II, 207. - - ~Ledermeyer~, Editor in Vienna: II, 359. - - ~Leipsic~: B's intended visit to, I, 192, 198. - - "~Leipsic Oxen~": B's term for critics, I, 282, 304. - - ~Lentner, Mme.~, Court singer: I, 18, 19. - - ~Lenz~: Critical catalogue of B's works, I, 272; - on the Rasoumowsky Quartets, II, 75. - - "~Leonora~": Opera by Paer, II, 35, 37. - - "~Leonore Prohaska~": Drama by Duncker, II, 298. - - "~Leonore, ou l'Amour conjugal~": Opera by Gaveaux, II, 35, 36. - - ~Leopold I~, Emperor of Germany: I, 5, 6. - - ~Leopold II~, Emperor of Germany: I, 163, 164. - - ~Levin, Rahel~: II, 204. - - "~Libussa~": Opera-book by Bernard, III, 173. - - ~Lichnowsky, Prince Carl~: Takes B. into his lodgings, - I, 148, 168, 170; - Trios Op. 1 first played at his house, 175; - commands servant to give B. precedence over him, 182, 190; - probable visit to Prague with B., 193, 244; - gives B. quartet of instruments, 276, 286; - settles annuity on B., 298, 299, II, 9; - visited by B. in Silesia, 66; - abrupt departure of B., 68, 104, 123, 146; - visited by B. in Silesia, 208; - undisturbed friendship for B., 215; - with B. at Teplitz, 222; - unwillingness to disturb B. when at work, 254; - death of, 271. - - ~Lichnowsky, Princess Christine~: II, 124, 271. - - ~Lichnowsky, Countess Henrietta~: I, 244; - dedication, 370. - - ~Lichnowsky, Princess Maria Christine~: I, 170; - dedication to, 290. - - ~Lichnowsky, Count Moritz~: I, 213, 235; - dedication to, 369; - story of Bonaparte and the "Eroica," II, 24; - letters from B., 262, 290; - marriage with an opera-singer, 291; III, 24; - on Johann van B., 67; - B's musical jest, 115; - agrees to guarantee Grillparzer's opera, 121, 158, 294. - - "~Liebe unter den Handwerkern~" ("L'Amore artigiano"): - Opera by Gassmann, I, 31. - - ~Liebich, Carl~: General Manager of Bohemian Theatres, II, 110. - - ~Liechtenstein, Baron Carl August~: I, 286, 304; - "Bathmendi," 304; - "Die steinerne Braut," 305; II, 2. - - ~Liechtenstein, Prince Johann Joseph~: I, 171, 244. - - ~Liechtenstein, Princess~: I, 244; - dedication to, 291. - - "~Lilla~": Opera by Martini, I, 108, 109. - - ~Lincoln, Abraham~, President of the U. S.: appoints - Thayer Consul, I, x. - - ~Lind~: B's tailor, II, 164. - - ~Lind-Goldschmid, Jenny~: Once owner of the Heiligenstadt - Will, I, 351. - - ~Lindner, Andreas~, Dancing-master: I, 147. - - ~Linke~, Violoncellist: I, 174, 316; II, 124, 125, 316, - 319, 337; III, 294, 312. - - ~Linz~: B's visit to his brother at, I, 229. - - ~Lipsius.~ (See LA MARA.) - - "~Listige Bauernmaedchen, Das~" ("La finta Giardiniera"): - Opera by Paisiello, I, 108. - - ~Liszt, Franz~: Gets B's Broadwood Pf., II, 392; - is presented to B., III, 124; - the alleged kiss, 124. - - ~Lobkowitz, Prince~: I, 168; - amateur violinist, 169; - his orchestra, 239; - dedication of quartets, 276, 290; - II, B's epithet, "Lobkowitzian ass," 51, 98; - suggests engagement of B. at Court Theatres, 99; - dedication of "Eroica," 77, 110, 113; - subscribes to annuity contract, 139, 146; - dedication of "Harp" Quartet, 160; - dedication of Fifth Symphony, 162; - the Annuity Fund, 170, 172; - dedication of Quartet, Op. 74, 195; - assumes direction of Court Theatres, 201; - reduction of his obligation under Annuity Contract, 212; - suspends payment, 213; - ruined by theatrical management, 250; - the annuity obligation, 289; - settlement of, 306; - B's aspersions on his character, 307; - cantata on his birthday, 354. - - "~Lodoiska~": Opera by Cherubini, II, 3. - - ~Lodron, Count~: II, 98. - - ~Loewe, Ludwig~: Actor for whom B. acts as love messenger, II, 205. - - ~London Musicians~: B's appeal to, II, 273. - - ~Longfellow, Henry W.~: II, 193. - - ~Lonsdale, Charles~: Partner of Robert Birchall, II, - 319, 346, 350, 351. - - ~Lonsdale, Robert~: II, 319. - - ~Louis XVIII~, King of France: Subscribes for the Mass - in D and strikes medal in B's honor, III, 100. - - ~Louis Ferdinand~, Prince of Prussia: Amateur musician - complimented by B., I, 196; - and the "Eroica," II, 26, 32, 302. - - ~Lower Rhenish Festival~: III, 188. - - ~Lucchesi, Andrea~: Appointed successor to B's grandfather, I, 22; - "L'Inganno scoperto," 27, 47; - "Le Donne sempre donne," 26; - "Il Natale di Giove," 26; - "L'Improvvisata," 27; - sketch of, 34, 71, 73, 74, 82. - - "~Lucille~": Opera by Gretry, I, 31, 86. - - "~Luegnerin aus Liebe~": Opera by Salieri, I, 32. - - ~Luib, Ferdinand~: I, 269, 356. - - ~Lwoff~, Russian Privy Councillor: II, 75. - - - "~Macbeth~": Opera-book by Collin, II, 119, 151, 158; - another, III, 117. - - ~Macco, Alexander~: II, 18, 124. - - ~Macfarren, Natalie~: III, 231. - - "~Maedchen im Eichthale~" ("Maid of the Oaks"): Opera by - d'Antoine, I, 32. - - "~Maedchen von Frascati, Das~": Opera by Paisiello, I, 107. - - "~Magnifique, Le~": Opera by Gretry, I, 86. - - ~Maehler, Willibrord Joseph~, Painter: Visited by Thayer, I, xi, 146; - II, paints portrait of B., 15, 305; - anecdote about "Fidelio," 51; - invited by B., 198. - - "~Maid of the Oaks~": Opera by d'Antoine, I, 32. - - ~Malfatti, Dr.~: II, 86, 141; - sends B. to Teplitz, 202, 280; - insulted by B., 345, 369; - III, at B's last illness, 274, 288; - estrangement and reconciliation, 284, 285; - his treatment of B., 286, 287, 292. - - ~Malfatti, Therese~: I, xvi, 292; - alleged proposal of marriage to by B., 333, 336; II, 141; - sketch of, II, 86, 106; - letter to, 176, 239. - - ~Malherbe, Charles~: I, 139. - - ~Malines~: Van Beethoven families living in, I, 44. - - ~Maelzel, Johann Nepomuk~: Career of, II, 232 _et seq._; - makes ear-trumpet for B., 233; - invents metronome, 233; - the canon on his name, 234 _et seq._; - lends B. money, 245; - conceives "Wellington's Victory," 251 _et seq._; - his mechanical trumpeter, 251, 257, 261; - his panharmonicon, 251; - contemplates accompanying B. to England, 251, 255; - projects concert for production of "Wellington's Victory," 256; - B's note of thanks to, 258; - quarrels with B., 259; - legal proceedings, 271 _et seq._; - American career and death of, 276, 384. - - ~Mandycewski, Eusebius~: I, 210, 223. - - "~Marchese Tulipano, Il~": Opera by Paisiello, I, 108. - - ~Marconi~, Singer: II, 129. - - ~Maria Ludovica, Empress~: III, 142. - - ~Maria Theresia~: I, 77, 81; - dedication of Septet, 278, 283; - sings part in an opera by Reicha, 310. - - "~Mariage des Samnites, Le~": Opera by Gretry, I, 31. - - ~Marie Antoinette~: I, 78. - - ~Marinelli~, Manager of theatre in Vienna: I, 164. - - ~Marlborough, Earl of~: I, 6. - - ~Marschner, Heinrich~: Visits B., II, 382. - - ~Marshall, Julian~: I, 140. - - ~Martini~: I, 87; - "Arbore di Diana, L'," 107; - "Lilla," 108, 109. - - ~Marx, A. B.~: On the Sonata Op. 81a, II, 143; - disputes genuineness of B's letter to Bettina von Arnim, 183. - - ~Mason, Lowell~: Employs Thayer in his library, I, x; - provides funds for his researches, x. - - ~Mastiaux, Johann Gottlieb~: Amateur in Bonn, I, 38, 89. - - "~Materialien fuer Contrapunkt~": II, 147, 150. - - "~Materialien fuer Generalbass~": II, 147, 150. - - "~Matrimonio segreto, Il~": Opera by Cimarosa, I, 164. - - ~Matthison~: His duel with Handel, I, 72. - - ~Matthisson.~ (See ADELAIDE in Index of Compositions.) - - ~Mattioli, Cajetano~, Sketch of: I, 34, 82. - - ~Maeurer, B. J.~, Court violoncellist: I, 24, 61, 62, 65. - - ~Max Franz~, Elector of Cologne: I, 16; - shares his mistress with his Prime Minister, 16; - his dance-room, 30; - commands report on music at his court, 82; - the theatre in his reign, 86; - career, 77 _et seq._; - described by Swinburne and Mozart, 78; - his musical education, 81; - his appreciation of Mozart, 81; - music in Bonn during his reign, 88; - knights Count Waldstein, 102; - plans national theatre, 105 _et seq._; - III; his patronage of B., 116; - limit of his assistance, 124; - flees before French troops, 125; - allows grain and salary increase to B., 149; - visits Vienna, 179; - flees to Frankfort, 179; - discharged of all obligations, 190; - visit to Vienna, 267; - Archduke Karl made his coadjutor as Grand Master of - Teutonic Order, 287; - in retirement at Hetzendorf, 288. - - ~Max Friedrich~, Elector of Cologne: I, 1; - ascends throne, 14; - career, 14; - his Prime Minister, 14; - his popularity, 14; - described by Henry Swinburne, 16; - music at his court, 16; - appoints B's grandfather Chapelmaster, 17; - promises composer's father a salary, 17; - grants an increase, 19, 22; - appoints Lucchesi successor to B's grandfather, 23; - opera performed at his court, 25 _et seq._; - birthday celebration, 26; - plays at his theatre, 27, 28, 29; - theatre closed because of his death, 33; - dedication of B's boyhood Sonatas, 72; - assumes all costs of Electoral Theatre, 73; - appoints B. Assistant Court Organist, 74; - death of, 74; - effect of his death on B., 76, 78; - promotes education, 80. - - ~Maximilian Emanuel~, Elector of Bavaria: I, 7. - - ~Maximilian Heinrich~, Elector of Cologne: I, 3. - - ~Maximilian Joseph~, King of Bavaria: Dedication of the - Choral Fantasia, II, 207, 209. - - ~Mayence~, Archbishops of: I, 3. - - ~Mayseder, Joseph~: I, 274; II, 41, 125, 216; - E-flat Sonata Quartet, II, 193; - torchbearer at B's funeral, III, 312. - - "~Medea~": Opera by Cherubini, II, 3. - - ~Medina, Maria~: Wife of Vigano, dancer, I, 283, 284. - - ~Mehul~: Opera "Ariodante," II, 23. - - ~Meier, Sebastian~: Mozart's brother-in-law, II, 4, 50; - letter to, about "Fidelio," 61, 209. - - ~Meinert~: Sketchbook, II, 150, 161. - - ~Meisl, Carl~: Changes "Ruins of Athens" to "Consecration - of the House," III, 79; - drama, 82. - - ~Meissner, Prof. A. G.~: Oratorio text, II, 19. - - ~Melichar, Ilka~: I, 342. - - "~Melusine~": Opera-book by Grillparzer, III, 118 _et seq._; 135, 220. - - ~Mendelssohn-Bartholdy, Felix~: Description of Dorothea - Ertmann, II, 83. - - ~Mendelssohn, Paul~: I, xii; - owner of sketches for "Fidelio," II, 45. - - ~Merz, Julius~: Publishes B's letter to Bettina von Arnim, - II, 182, 185. - - "~Messiah~": Handel's oratorio, II, 310, 312; III, 135, 182, 296. - - ~Metastasio~: "Olimpiade," I, 204; - "Betulia liberata," III, 143. - - ~Metronome~ (see MAeLZEL): II, 382; - marks for the Ninth Symphony, III, 244. - - ~Meyer, Court Councillor von~: Amateur, I, 172. - - ~Meyerbeer, Giacomo~: II, 39, 256; - beats drum at performance of "Wellington's Victory," 258; - B's opinion of, 297; - "Die beiden Caliphen," 297. - - ~Mickley, Joseph J.~: II, 385. - - ~Mihl~ (or ~Muehle~): Opera "Milton und Elmire," I, 31. - - ~Milder-Hauptmann, Anna~: II, 49; - and "Fidelio," 64; - quarrels with B., 129, 263, 278, 284, 329. - - ~Milton, John~: II, 169. - - "~Milton und Elmire~": Opera by Mihl, I, 31. - - "~Moda, La~": Opera by Baroni, I, 27. - - "~Molinara, La~": Opera by Paisiello, I, 187. - - ~Molitor~: Amateur in Vienna, II, 2. - - ~Mollo~, Publisher: His publication of a Quintet, controversy, I, 294. - - ~Molt, Theodore~: Visitor to B. from Quebec, III, 211. - - ~Mombelli~, Singer: I, 188. - - ~Monsigny~: Operas "Le Deserteur," I, 31; - "Felix, ou l'Enfant trouve," 32, 109; - "Rose et Colas," 29, 86. - - ~Moor, The~: Haydn's nickname for B., I, 146. - - ~Moravian nobility~: Their musical culture, I, 168. - - ~Morris, Jack~: Brings score of "Mount of Olives" to London, II, 309. - - "~Morte d'Abel, La~": Opera, I, 14. - - ~Moscheles, Ignaz~: His English paraphrase of Schindler's - biography, I, ix; - visited by Thayer, xi, 241; - on the first performance of the Choral Fantasia, II, 130; - composes marches for Maelzel's panharmonicon, 351; - tells of the composition of "Wellington's Victory," 253; - his account of the performance, 358; - on the Trio, Op. 97, 270; - makes Pf. score of "Fidelio," 281, 282; - first meeting with B., 282; - "Fidelio," 303; - B's opinion of as a pianist, 381; III, 289, 290, 291, 293. - - ~Mosel, Ignaz von~: II, 358, 386; - at B's funeral, III, 312. - - ~Moeser~: Violinist in Vienna, II, 8. - - ~Mozart~: Education derived from his father, I, 85; - B's visit to, 89, 90; - his morning concerts in Vienna, 166; - relations with Mme. Hofdemel, 254, 305; - B's admiration for the Concerto in C minor, 219; - B's appreciation, II, 89; III, 42; - Cherubini's estimate of his genius, 205; - B. defends authenticity of his "Requiem," III, 233; - the "Requiem" played at B's funeral, 312; - his operas "Die Entfuehrung aus dem Serail," I, 32, 107, 109; - "Don Giovanni," I, 91, 107, 163, 193, 204; II, 204; III, 42; - "Le Nozze di Figaro," I, 82, 108, 163, 193; - "Il Re Pastore," I, 81; - "Die Zauberfloete," I, 164, 226, 304; II, 22; III, 36; - "La Clemenza di Tito," I, 194; II, 110; - "Idomeneus," II, 101. - - ~Mueller, Adolph~: And B's orchestration of the funeral march - from the Sonata in E-flat, Op. 26, II, 295. - - ~Mueller, Chancellor~: II, 180. - - ~Mueller, Louise~: Singer at first performance of "Fidelio," II, 49. - - ~Mueller, Wenzel~, Chapelmaster: I, 164. - - ~Mueller, W. Christian~: His account of B., III, 36. - - ~Mylich~: I, 210, 231. - - - "~Nach Frankreichs unheilvollem Sturz~": Cantata text left - uncomposed, II, 292. - - ~Nagel, W.~: "Beethoven und seine Klaviersonaten," I, 293. - - ~Naegele~: Projects publication of Bach's works, I, 304; - publishes sonata with interpolated measures, 367; - "Repertoire des Clavecinistes," II, 20, 38. - - "~Nanerina e Pandolfo~": Opera by Dutillier, I, 165. - - ~Napier, William~: Publishes Haydn's arrangements of Scottish - songs, II, 70. - - ~Naples~: A call thither for B., II, 194; - King of, and the Mass in D, III, 90. - - ~Napoleon.~ (See BONAPARTE.) - - ~Natorp, Mme.~ (See SESSI.) - - ~Naumann~, Chapelmaster: II, 19. - - ~Neate, Charles~: English pianist, visited by Thayer, I, xi; - B's story on origin of his deafness, 263; - II, introduced to B., 315; - buys overtures for the London Philharmonic Society, 333; - defends himself against B's charges, 349; - unable to help B. in London, 337; - letters from B., 339, 351, 352, 367; - III, enjoined "For God's sake buy nothing of B.," 52; - seeks publisher for B. in London, 73, 183, 186. - - ~Neefe, C. G.~: Appointed successor to Van den Eeden as Court - Organist, I, 25; - joins Dramatic Co. at Bonn, 30; - music for court festival, 31; - opera "Heinrich und Lyda," 31, 36; - "Die Apotheke," 31; - "Sophonisba," 31; - describes musicians in Bonn 33; - career of 34; - "Amor's Guckkasten," 36; - "Die Einsprueche," 36; - "Zemire und Azor," 36, 37; - instrumental compositions, 36; - "Adelheit von Veltheim," 37; - ode, 37; - teaches B., 61, 62, 67 _et seq._; - leaves his duties as organist to the boy B., 69; - "Materialien fuer Contrapunkt," 70; - his duties as Court Organist, 71, 73; - dismissed, 73; - with Klos' troupe, 105; - B's appreciation of him as teacher, 68, 124, 142; - his daughter, 304. - - ~Nelson, Lord~: Not commemorated in the "Eroica," II, 25. - - ~Niemetz~: Dissolute companion of B's nephew, III, 252, 255, 258. - - ~Nikelsberg, Carl Nikl Edler von~: I, 222; - dedication of Concerto in B-flat, I, 290. - - "~Nina~": Opera by Dalayrac, I, 107, 108. - - "~Nobilita delusa, La~": Opera, I, 26. - - ~Nohl, Ludwig~: I, 292; - on B. and Countess Guicciardi, 321; - on Therese Malfatti, 333, 339; - on the letter to Bettina von Arnim, II, 185; - "Eine stille Liebe zu Beethoven," 362; - "Beethoven, Liszt und Wagner," III, 124. - - ~Nottebohm~: "Zweite Beethoveniana," I, 71, 76, 261; - "Beethoven's Studien," I, 156, 216; - "Beethoveniana," I, 156, 261; - "Ein Skizzenbuch von Beethoven," 258, 304; - on B's studies with Albrechtsberger and Haydn, 151, 158; - on the text of the Choral Fantasia, II, 133; - on the date of the Petter sketchbook, II, 151; - on the canon on Hoffmann, III, 35. - - ~Novello, Ewer and Co.~: I, xiii; III, 13. - - ~Novello, Vincent~: II, 12. - - "~Nozze, Le~": Opera by Galuppi, I, 25. - - "~Nozze di Figaro, Le~": Opera by Mozart, I, 82, 108, 163, 193. - - "~Nozze disturbata, Le~": Ballet by Vigano, I, 188, 193. - - ~Nussboeck, Leopold~: Guardian of B's nephew, III, 8. - - ~Nussdorf.~ (See LODGINGS.) - - - "~Oberon~": Opera by Wranitzky, I, 165. - - ~Obreskow~: Russian official, III, 101, 102. - - ~Odelga~: III, 101, 102. - - ~Odescalchi, Prince~: I, 209, 244. - - ~Odescalchi, Princess~: I, 223; - dedication to, 290; - taught by B., 322; - dedication to, 368, 369. - - "~Ode to Joy~": Schiller's, I, 132, 275; II, 152, 295, 414; - III, 145, 146, 148 _et seq._ - - "~Odyssey~": Homer's, I, 252. - - "~Olimpiade~": Opera by Sacchini, I, 32. - - ~Oliva, Franz~: His relations with B., II, 143; - dedication to, 161; - delivers B's letter to Goethe, 197, 202; - plans to accompany B. to England, 220; - estrangement with B., 220; III, 24; - goes to St. Petersburg, 41. - - ~Operas~ performed at Bonn in 18th century: I, 25, 26, 27, 29, - 31, 32, 107. - - ~Oppersdorff, Count~: The Symphony in B-flat, II, 68, 101, 122, - 123, 124, 162. - - "~Orfeo~": Opera by Gluck, I, 86. - - ~Ossian~: B's appreciation of, II, 147. - - ~Oudinot~: "Der Fassbinder," I, 29. - - ~Ovid~: His "Metamorphoses" called for by B. on his death-bed, - III, 283. - - - ~Pachler-Koschak, Mme.~: B's friendship for, II, 282; III, 140. - - "~Paechter, Die drei~": Opera by Desaides, I, 107. - - ~Paer, Ferdinand~: I, 282; - his funeral march and that in the Sonata Op. 26, 290; - "Achilles," 290; - "Das heilige Grab," II, 2; - "Leonora," II, 35, 37. - - ~Paisiello~: Operas at Bonn, I, 86; - "La Frascatana," 107; - "Il Barbiere," 108; - "Il Re Teodoro," 108; - "La Finta Giardiniera," 108; - "La Molinara," 187; - "Il Marchese Tulipano," 108; II, 204. - - ~Palestrina~: Preferred over all church composers by B., III, 203. - - ~Palffy, Count Ferdinand~: II, 98; - supposed grudge against B., 100, 146; - accepts direction of Court Theatres, 201; - produces "Fidelio" for the Congress of Vienna, 293; - and the concert of 1814, 299; - and the Ninth Symphony, III, 157 _et seq._ - - "~Paradise Lost~": II, 310. - - ~Parke~: "Musical Memories," II, 12. - - ~Parma, Duchess of~: Asked by B. to urge Grand Duke of Tuscany - to subscribe to the Mass in D, III, 101. - - ~Pasqualati, Baron Johann~: Witnesses Karl van B's declaration - as to the guardianship of his son, II, 241; - signs affidavit against Maelzel, 288; - the "Elegiac Song" in memory of his wife, 288, 306; III, 58. - (See LODGINGS.) - - "~Pastorella al Soglio, La~": Opera, I, 26. - - ~Paul~, Czar of Russia: II, 81. - - ~Payer, Hieronymus~: II, 26. - - ~Perger, A. von~: Discovers minuets by B., I, 211. - - ~Pergolesi~: "La Serva Padrona," I, 108. - - ~Perkins, Charles C.~: "History of the Handel and Haydn Society - of Boston," III, 87. - - ~Persian Literature~: B's interest in, II, 167. - - ~Pessiak, Mme.~: II, 362; III, 13. - - ~Pesth~: New theatre planned for, II, 154, 200; - opening of, 213. - - ~Peters, C. F.~, Publisher: Negotiations for Mass in D and - other works, I, 271, 55, 57 _et seq._, 58, 59, 60, 61, 64,; - refuses to publish works sent by B., 65; - advance payment by, 70; - rejects "Bagatelles," 86; - complains of B's treatment of him, 180; - receives rebuke and ultimatum, 212; - B. calls him a "hell-hound," 216. - - ~Peters~: Tutor to Prince Lobkowitz and co-guardian of B's nephew, - II, 326, 354; III, 10, 24, 32. - - "~Petit Matelot, Le~": Opera by Gaveaux, II, 36. - - ~Petter Collection~: Sketches by B., I, 274, 290; II, 118, 151, 209. - - ~Pfeiffer, Tobias~: Gives music lessons to B., I, 62, 63. - - ~Philharmonic Society of London.~ (See under B., LUDWIG VAN.) - - ~Philidor~: "Der Hofschmied," I, 29; - his operas at Bonn, 86. - - ~Pianoforte~: Presented to B. by Erard, II, 21. - - ~Pianoforte~: Presented to B. by Broadwood, II, 390 _et seq._; - III, 214, 237. - - ~Piccini~: Operas "La buona Figluola;" I, 25, 26, 32; - "Le Aventure di Rodolfo," 26; - "La Schiava," 32. - - ~Pictures and Music~: II, 249, 262. - - ~Pilat, Joseph~: II, 359. - - "~Pilgrimme von Mecca, Die~": Opera by Gluck, I, 32, 108. - - ~Pinterics, Captain~: II, 235, 327; III, 32. - - ~Piringer~: III, 62, 137, 157; - torchbearer at B's funeral, 312. - - ~Plato~: His influence on B., I, 213. - - ~Pleyel, Ignatz~: His quartets, II, 44; - his arrangements of Scottish songs, 70, 260. - - ~Plittersdorf, Mme.~: II, 179. - - ~Plutarch~: I, 252, 300. - - ~Polledro~: Joins B. in concert for sufferers at Baden, II, 225. - - ~Popularity of B's Works~: II, 38. - - ~Portenschlag~, Viennese editor: II, 359. - - "~Praechtige, Der~" ("Le Magnifique"): Opera by Gretry, I, 86. - - ~Prague~: B. plays in, I, 192; - music in, 193; - B. gives concert in, 217; - production of "Fidelio" in, II, 110; - visit of B. in 1812, 222. - - ~Preisinger~, Bass singer: III, 164. - - ~Prelinger~, Editor of a collection of B's letters: I, 336. - - ~Prichnowsky, Prince~: II, 8. - - ~Prieger, Dr. E.~: I, 88; - owner of fragment of Wind Quintet, 206, 211; - publishes _facsimile_ of Sonata Op. 26, 291; - reprint of original "Fidelio," II, 45, 58. - - ~Prince Regent of England~: B. sends him "Wellington's Victory," - II, 310, 311, 318, 336, 339; III, 112, 208. - - ~Probst, H. A.~, Publisher: B offers him the Ninth Symphony and - Mass in D, III, 178. - - ~Programme Music~: II, 119; - the Sonata Op. 90, 292; - B. objects to programme of the Seventh Symphony, III, 37. - - ~Pronay, Baron von~: II, 367. - - ~Prussia, Kings of~: Frederick William subscribes to Mass in D, - III, 94; - offers decoration instead of money, 94, 105; - dedication of the Ninth Symphony to, 230, 233, 234; - sends B. a ring 133, 276, 282; - Frederick II reputed to be the father of B., III, 243. - - ~Pueckler-Muskau~: Bettina von Arnim's letter to, II, 186, 188, 223. - - ~Punto, Giovanni~ (Johannes Stich), Horn-player: I, 239, 267, 277. - - ~Pyne~, English singer: II, 310. - - - ~Quartet of Instruments~: Presented to B., I, 354. - - "~Queen of Night~": B's nickname for his sister-in-law, II, - 332, 341, 393. - - - ~Rabelais~: His last words and B's, III, 305. - - ~Raday, Count~: Ruined by theatrical management, II, 154. - - ~Radicati, Felix~: II, 75. - - ~Radichi~, Singer: II, 265. - - ~Radziwill, Prince Anton~: II, 302; - his "Faust" music, 302; - subscribes for the Mass in D, III, 94, 104, 106. - - ~Ramm, Friedrich~, Oboist: I, 207; II, 33, 34. - - "~Raoul, Sire de Croqui~": Ballet by Vignano, I, 283. - - "~Raptus~": Mme. Breuning's expression for B's occasional state, - I, 118, 120, 301; II, 182, 189. - - ~Rasoumowsky, Count Andreas~: Appeals to B. for lessons in - composition, I, 273; - the Quartets composed for him, II, 65, 68, 74, 81, 104, 110, 124; - forms the Rasoumowsky Quartet, II, 125; - sketch of him, 81; - dedication of the Fifth Symphony, 162; - lasting friendship with B., 215; - his Quartet, 250; - regal entertainments at the Congress of Vienna, 300; - destruction of his palace, 301; - the Quartet, 316. - - ~Rau~, Viennese banker: Reports receipt of Philharmonic Society's - gift to B., III, 292; - reports B's death to Moscheles, 293. - - ~Raysbeck, Mme.~: One of the favorites of Elector Joseph Clemens, - I, 3, 4. - - ~Redoutensaal~: Dances for, I, 188, 289. - - ~Reeve, Dr. Henry~: Criticism on "Fidelio," II, 52. - - ~Reicha, Anton~: I, 105; - career of 106, 117; - comes to Vienna, 288, 300; - opera "Ubaldi," 310, 355; II, 55. - - ~Reicha, Joseph~: I, 82, 84, 105; - career of, 100, 111. - - ~Reichardt, Johann Friedrich~: Chapelmaster in Berlin, I, 196; - on Countess Erdoedy, II, 82; - on Streicher's pianofortes, 87, 124; - account of B's concert, 129; - and B's call to Jerome Bonaparte's court, 141; - value of his letters, 165. - - ~Reichardt, Karl August~: Visits B., III, 203. - - ~Reiss, Anton~: Father-in-law of Karl v. B., II, 65. - - ~Reiss, Theresa (Johanna)~: Wife of Karl Kaspar v. B., II, 65. - - ~Reissig, C. L.~: His poems, II, 147; - denounced by B., 148; - "Bluemchen der Einsamkeit," 160; - songs published, 195. - - ~Rellstab, Ludwig~: visits B., III, 200. - - "~Reue vor der That, Die~": Opera by Desaides, I, 32. - - ~Rhine~: Inundation, I, 75; - journey on, of the Electoral Chapel, 112. - - "~Richard Coeur de Lion~": Opera by Gretry, I, 226, 305. - - ~Riemann, Dr. Hugo~: Completes revision of the German edition - of this biography, I, xv; - on the authenticity of the "Jena" Symphony, 211; - upholds charges against B's brothers, 360; - asserts that B. wanted to marry Therese Malfatti, 336; - his theory concerning the love-letter, II, 239. - - ~Ries, Anna Maria~, Court singer at Bonn: I, 18, 19, 23. - - ~Ries, Ferdinand~: - Vol. I. - "Biographische Notizen," etc., ix, xi, 90, 313, 315; - on B's manuscripts, 141; - on his studies with Haydn, 152; - on B's teachers, 161; - on the first performance of the Trios Op. 1, 175; - B's riding-horse, 200; - Quintet Op. 16, 207; - Quintet Op. 29, 203, 312; - his career, 312 _et seq._; - B's kindness toward, 313; - instruction from B., 314; - arrangements of B's works, 350; - origin of the Marches for four hands, 350; - on B's deafness, 352; - charge of misconduct against Karl Kaspar v. B., 361; - B's interest in him, 363; - B. aids him to employment, 366 - --Vol. II. - His account of first performance of "The Mount of Olives," 7; - his account of the first meeting between B. and Clementi, 23; - on the origin of the "Eroica," 24; - an alleged false entry in the "Eroica," 26; - plays at a sentimental scene for B., 29; - letters from B., 27, 28, 29, 334, 338, 340, 371, 395, 412, 413; - plays the C minor concerto, 30, 82; - significant hiatus in his book, 41; - B. greets him with lathered face, 48; - not permitted to hear a reading of "Fidelio," 48; - conscripted, 49; - on B's disregard of etiquette, 80, 124; - orchestra refuses to play for B., 128; - the Concertos in C minor and G, 131; - on B's call to Cassel, 140, 310, 324, 325; - invites B. to London, 370; - relations with B., 372. - --Vol. III. - B's "Nothing for Ries," 49, 110, 111; - makes contract for B. with Boosey, 128; - B. promises a dedication to his wife, 128; - removes to Godesberg, 188, 189. - (See SYMPHONY IN D MINOR.) - - ~Ries, Franz Anton~: I, 11, 24, 25; - aids father of the composer, 93, 95; - gives violin lessons to B., 99, 105, 117, 119; - collects salary for B., 149; - seeks to obtain pension for B., 148. - - ~Ries, Johann~, Court Trumpeter at Bonn: I, 11, 18, 51, 87. - - ~Righini, Vincenzo~: "Venni amore," I, 114, 138. - - ~Risbeck, Kaspar~: Description of the Rhenish States, I, 15. - - "~Riso d'Apolline, Il~": Opera by Betz, I, 126. - - "~Ritorno di Tobia~": Oratorio by Haydn, II, 131. - - "~Robert und Callista~": Opera by Guglielmo, I, 31, 109. - - ~Roeckel, Elizabeth~: On B's susceptibility, II, 181. - - ~Roeckel, J. A.~: Career of, II, 53; - his notes on "Fidelio," 53, 60, 62; - B's liking for, 92; - on B's desire to compose operas, 119; - letter, 128; - on B's desire to travel, 142; - on the revision of "Fidelio" in 1814, 265. - - ~Roda, Cecilio de~: B's sketches for the last Quartets, I, 277. - - ~Rode, Pierre~: B. composes Sonata for him, II, 235, 236. - - ~Rolland, Romaine~: I, 337. - - ~Romberg, Andreas~: I, 105; - career of, 106, 111, 199. - - ~Romberg, Bernhard~: I, 105; - career of, 106, 111, 117, 121, 199, 205; - and first Rasoumowsky Quartet, II, 75; III, 72. - - "~Romeo und Juliet~": Opera by Benda, I, 31, 107, 108. - Opera by Zingarelli, II, 172. - Considered by B., III, 117. - - "~Romulus and Remus~": Opera by Johann Fuss, II, 304; - opera-book by Treitschke, II, 304, 381. - - "~Roeschen und Colas~" ("Rose et Colas"): Opera by Monsigny, I, 29. - - ~Roesner, Felia~: Daughter of Neefe, I, 304. - - ~Rothe~: Singer in "Fidelio," II, 51. - - "~Rothkaeppchen, Das~": Opera by Dittersdorf, I, 109, 176, 188. - - ~Rovantini, Franz Georg~: Gives violin instruction to B., I, 64, 67. - - ~Royal Library~ at Berlin: Acquires B.'s memorabilia, I, xi; - sends Conversation Books to Thayer, xi; - owns B.'s quartet of viols, 277; - gets B's posthumous papers from Schindler, III, 11. - - ~Rubini~: III, 77. - - ~Rudolf~, Violinist and conductor: I, 166. - - ~Rudolph, Archduke~ of Austria: - II, 79, 100; - dedication of Concerto in G, 134; - Trios, Op. 70, 132; - subscription to the annuity contract, 139; - the Sonata Op. 81, 143; - his studies with B., 147, 150, 154; - dedication of E-flat Concerto, 160; - the annuity contract, 170, 172, 212, 213, 217, 242, 306; - B. wearies of teaching him, 194, 199; - letters, 199, 206, 225, 235, 248, 250, 266, 286; - B. tells Goethe of disciplining him, 227; - and calls his duty "servitude," 240; - compelled to quit pianoforte playing, 266; - lessons irksome to B., 381; - charged by B. with his misfortunes, 396; - installation as Archbishop of Olmuetz, 398, 412; - dedication of Op. 101, 414; - --III, letters from B., 1, 9, 19, 20, 34; - asked to help send nephew to Landshut, 6; - his Variations, 19, 20; - urged to compose, 21; - dedication of Op. 106, 23, 25; - enthroned as Archbishop, 33, 44; - dedication of Op. 111, 50; - Variations on air by Rossini, 77, 82, 91, 94; - asked to urge subscription to Mass on Grand Duke of Tuscany - and King of Saxony, 95, 96; - B. rails against him, 112; - urges B. to compose Bernard's oratorio, 175; - dedication of the Mass in D, 212. - - "~Ruines de Babilone~": II, 202. - - "~Rule, Britannia~": II, 252. - (See VARIATIONS, in Index of Compositions.) - - ~Ruschowitz, Constanze~: I, 99. - - ~Ruskin, John~: On the imagination, III, 25. - - ~Russia, Empress of~: II, 305; - Czar subscribes for the Mass in D, III, 102, 105; - dedication of the Ninth Symphony considered, 231. - - ~Russian Melodies~: In the Rasoumowsky Quartets, II, 74; - in "Ruins of Athens," 162. - - ~Rust, Wilhelm~: Description of B., II, 117; - on B. and the French, 146. - - ~Rzewuska, Countess~: II, 111. - - - ~Saal~, Singers: I, 266. - - ~Sacchini~: His operas at Bonn, I, 86; - "La Contadina in Corte," 26; - "L'Olimpiade," 32; - "L'Isola d'Amore," 108. - - ~Saint-Foix, Georges~: I, 139. - - ~Salieri~: "Armida," I, 86; - "La Grotta di Trofonio," 107; - "Koenig Axur in Ormus," 109, 163; - "Falstaff," 227; - gives B. lessons in composition, 154, 160; - Violin Sonata dedicated to him, 163, 214; - respected by B., 241; II, 2; - "The pupil B. was here," 64; - accused of enmity by B., 136; - conducts percussion instruments in "Wellington's Victory," 262. - - ~Salm-Reifferscheid, Count~: I, 73, 74. - - ~Salomon, Jacobina~: Court musician at Bonn, I, 20. - - ~Salomon, Johann Peter~: I, 19, 20, 51, 186; II, 317, 319, - 324, 325, 359; - recants his opinion of the Fifth Symphony, 279. - - ~Salomon, Philip~: I, 20; - career in London, 20, 23, 110, 299. - - ~Salzburg~: Occupied by Bernadotte, II, 61. - - ~Samaroff, Olga~: I, 140. - - "~Samnitische Vermaehlungsfeier, Die~" ("Le Mariage des Samnites"): - Opera by Gretry, I, 31. - - "~Samori~": Opera by Vogler, II, 23. - - "~Samson~": Oratorio by Handel, II, 359. - - ~Santerrini~: Alleged teacher of B., I, 62. - - "~Sargino~": Opera, II, 61. - - ~Sarti~: Operas "Fra due Litiganti," I, 86, 109; - "L'Incognito," 86; - "La Gelosie villane," 109. - - ~Satzenhofen, Countess~ and Abbess: Mistress of Elector - Max Friedrich, I, 16. - - ~Sauerma, Countess~: III, 41. - - "~Saul~": Oratorio by Handel, III, 219, 285. - - ~Saxony, King of~: Subscribes for the Mass in D, III, 94, 96, 99, 105. - - ~Schaden, Dr.~: Lends money to B., I, 92; - letters to, 92, 95, 96. - - ~Schall, Captain~: Amateur musician in Bonn, I, 37. - - ~Schebek, Edmund~: II, 8. - - ~Schechner, Fraeulein~, Singer: III, 287, 288. - - ~Scheidl, Cesarius~: Musical prodigy, I, 91. - - ~Schenck, Joseph~: Gives lessons to B., I, 152, 154. - - ~Schickh, Johann~: II, 359. - - ~Schikaneder, Emanuel~: His theatre, I, 164; - engages B. and Vogler to compose operas, II, 5; - an opera-text for B., 19; - sells interest in Theater-an-der-Wien, 22, 34. - - ~Schiller~: "Ode to Joy," I, 132; II, 152, 295, 414; - III, 145, 146, 148 _et seq._; - B's appreciation of, II, 147, 153; - popularity of his plays, 153; - "Die Sendung Moses," 167; - "Die Fluesse," 196; - "Fiesco," 117. - - ~Schimon, Ferdinand~: Paints B's portrait, III, 21; - B's preference for it, 41. - - ~Schindler, Anton~, B's biographer: I, ix, xi; - sells memorabilia to Berlin, x; - visited by Thayer, x; - on B's studies with Haydn, 151; - on Bernadotte and the "Eroica," 213; - on B's relations with the musicians in Vienna, 241; - in error about B's want of familiarity with the orchestra, 239; - on B's sojourn in Hetzendorf, 289; - on Hoffmeister's edition of Bach, 303; - his theory about B's love, 318 _et seq._; - conversation with B. about Countess Guicciardi, 320; - defects as an investigator, 323; - --II, On B's religion, 168; - division of B's work into periods, 171; - the canon on Maelzel and the Allegretto of the - Eighth Symphony, 234; - makes B's acquaintance, 270; - his account of the quarrel with Maelzel disputed, 270 _et seq._; - growth of familiarity with B., 327; - wrong as to B's relations with Ries, 372; - trustworthiness as a biographer, 376; - beginning of an intimacy with B., 378; - in error as to the story of B's noble birth, 410; - --III, Sells B's papers to the Royal Library, 11; - praised by Horzalka, 42; - on Johann v. B, 67; - his story about Schubert and B., 79; - gets B's papers, 93; - "L'Ami de Beethoven," 93; - his nickname, 106; - B. calls him a scoundrel, 128, 133, 158; - on B's drinking habits, 196; - his biography of B., 197 _et seq._; - false tale of Nephew Karl's negligence, 272; - falsification of the Conversation Books, 273, 281; - charged by B. with theft of a petty sum, 281; - gets autograph of Ninth Symphony, 281; - accuses Johann v. B. of niggardliness, 278, 293; - B. sends him a meal from his sick-bed, 295. - - ~Schlegel~: One of his texts proposed for an opera, III, 117. - - ~Schleiermacher~: His translation of Plato, I, 213. - - ~Schlesinger~, Musician: II, 125. - - ~Schlesinger~, Publisher in Berlin: III, 54; - denounced by B., 55; - accepts Mass in D, 55, 190; - B's treatment of, 190. - - ~Schlesinger, Moritz~, Publisher in Paris: Visits B., - III, 203, 204, 206. - - ~Schloesser, Louis~: Visits B., III, 125; - and the Mass in D, 97. - - "~Schmaus, Der~" ("Il Convivo"): Opera by Cimarosa, I, 107. - - ~Schmidgen~: II, 125. - - ~Schmidt, Dr. Johann~: I, 278, 302, 348, 349, 353. - - ~Schmidt, Leopold~: Publishes B's letter to Simrock, II, 13. - - ~Schmith, Antoinette~: III, 14. - - ~Schnaps, Frau~: B's housekeeper, III, 131. - - ~Schneider, Friedrich~: Visits B., III, 18. - - ~Schneider, Johann~: Plays E-flat Concerto, II, 160. - - ~Schneller, Julius Franz Borgias~: II, 88. - - ~Schoberlechner, Franz~: III, 130. - - ~Schoenauer, Dr.~: II, 320, 321, 331. - - ~Schoenbrunn~, Garden of: I, 288. - - "~Schoene Schusterin, Die~": Opera by Umlauf, I, 108, 142, 165, 204. - - ~Schott and Sons~, Publishers: The Mass in D, III, 55, - 57, 177, 178, 189; - Quartet in E-flat, 178; - Ninth Symphony, 178; - B. asks for a gift of wine, 290 _et seq._ - - ~Schreiber~, Violist of Schuppanzigh Quartet: II, 41. - - ~Schreyvogel, von~: II, 304. - - ~Schreyvogel and Rizzi~: Publish catalogue of B's works, II, 38. - - ~Schroeder-Devrient, Mme.~: III, 83, 84, 85. - - ~Schubauer~: Opera "Die Dorfdeputirten," I, 109. - - ~Schubert, Franz~: His "Erlkoenig," I, 230; II, 327, 355; - III, his meeting with B., 79; - takes Rochlitz to look at B., 74; - his variations on Diabelli's waltz, 128; - B. and his songs, 298 _et seq._; - B's remark "A divine spark dwells in S.," 300, 301; - at B's death-bed, 298 _et seq._; - torchbearer at B's funeral, 312; - his grave beside B's, 312. - - ~Schultz, Edward~: Visit to B., III, 134. - - ~Schulze, Mme.~, Singer: II, 330. - - ~Schumann, Robert~: Publishes letters of B., II, 183. - - ~Schuppanzigh, Ignaz~: Gives lessons on violin to B., I, 156; - his Quartet, 170, 237 _et seq._; - conducts Augarten Concerts, 238, 274; - suggests gift of viols to B., 276; - author of a theme in the Quintet Op. 29, 296; - variations for two violins, 306, 316. - --II, 2; - teacher of Mayseder, 41; - his quartet concerts, 41; - Augarten Concerts, 42, 172; - B's joke on his marriage, 105, 125, 150, 167; - goes to Russia, 327, 337. - --III, 24, 75, 126; - and the last Quartets, 139, 156, 157, 184; - fails in E-flat Quartet, 193, 294, 312. - - ~Schuster~: Operas "Der Alchymist," I, 31, 107, 108; - "Die Geitzigen in der Falle," 108; - "Dr. Murner," 108. - - ~Schwachhofer, Mme.~, Court Singer: Disciplined by B's - grandfather, I, 20. - - ~Schwarzenberg, Prince~: I, 168, 172, 208; - dedication of Quintet Op. 16, 290; II, 98. - - ~Schwarzendorf~ (Martini): I, 87. - - ~Scott, Sir Walter~: I, 252; II, 214, 194; - B. reads his novels on his death-bed, III, 282. - - "~Seasons, The~": Oratorio by Haydn, I, 171; II, 120. - - ~Sebald, Amalie~: B's relations with, I, 337; II, 205; - letter from B, 228; - inscription in her album, 229; - B's infatuation for, 239, 343. - - ~Sebald, Auguste~: II, 205. - - ~Sedlazek, Jean~, Flautist: III, 208. - - "~Seidenen Schuhe, Die~": Opera by Fridzeri, I, 32. - - "~Serva Padrona, La~": Opera by Pergolesi, I, 108. - - ~Sessi, Mme.~, Singer: II, 2, 215. - - ~Seume~: His poem "Die Beterin" and the C-sharp minor Sonata, - I, 292, 339; - B. visits his grave, II, 205. - - "~Seven Last Words~": Cantata by Haydn, I, 214. - - ~Seyfried, Ignaz von~: "Beethoven's Studies in Thoroughbass," - I, 159, 215, 249; II, 147, 152, 183; - on B's playing, I, 216; - on the character of his brothers, 361; II, 2, 6; - and the C minor Concerto, 7; - conducts rehearsals of "Fidelio," 51; - asked by B. to conduct the opera, 61; - his description of B., 93 _et seq._, - on the first performance of the Choral Fantasia, 130, 131; - his writing for four horns, 285; - music for "Moses," 297, 358, 388; III, 157; - arranges and composes music for B's funeral and is pallbearer, 312. - - ~Seyler's Dramatic Co.~: I, 28, 30, 35. - - ~Shakespeare~: Recommended by B., II, 176. - - ~Shedlock, J. S.~: I, 205, 208, 210, 261, 290; II, 102; III, 13. - - ~Siboni~, Tenor: II, 215, 267. - - "~Silvain~": Musical comedy by Gretry, I, 26, 86. - - ~Simonetti~, Tenor of Electoral Chapel: I, 112. - - ~Simoni~, Singer in Vienna: I, 282. - - ~Simrock, Nicolaus~, Court Hornist in Bonn: I, 24, 51, 105; - B's association with him as publisher, 183 (see MASS IN D); - letters, 8, 183; II, 21; - B. offers him compositions, II, 105; - the Mass in C, 142; - association with B. in Vienna, 343, 345; III, 39, 44, - 53 _et seq._; 56. - - ~Sina, Louis~, Violinist: I, 170. - - ~Singakademie~, in Berlin: B. plays for, I, 196; II, 205; - invited to subscribe for the Mass in D, III, 104, 180. - - ~Sinsendorf (Zinzendorf?), Prince~: I, 172. - - ~Smart, Sir George~: Visited by Thayer, I, xi, III, 208; II, 309; - produces Mass in C in London, 310, 311, 351, 302, 347, 348, 370; - visits B. in Vienna, III, 206 _et seq._; 289, 389. - - ~Smetana, Dr.~: Performs surgical operation on Nephew Karl, II, 341; - prescribes for B's deafness, 85; - informed by B. of nephew's attempt at suicide, 259, 274. - - ~Smith, John~, of Glasgow: III, 16. - - ~Sobieski, John~: I, 7. - - "~Soliman II~": Opera by Suessmayr, I, 227. - - ~Soltikoff, Count~: II, 75. - - ~Sonneck, O. G.~: I, xviii. - - ~Sonnenfels, Joseph Noble de~: Dedication of Sonata Op. 28, I, 293. - - ~Sonnleithner, Christoph von~: II, 34. - - ~Sonnleithner, Ignaz von~: III, 251. - - ~Sonnleithner, Joseph von~: On Zmeskall, I, 230; - Secretary of Court Theatres, II, 23; - his career, 34. - - ~Sontag, Henrietta~: III, 77, 139, 153, 162, 164. - - "~Sophonisba~": Opera by Neefe, I, 31. - - ~Spain~: B's desire to travel in, II, 142. - - ~Spaun, Baron~: I, 338. - - ~Spazier~: I, 305; II, 1. - - ~Spencer, Herbert~: On billiard-playing, III, 253. - - ~Speyer, E.~: II, 216. - - "~Spiegel von Arkadien~": Opera by Suessmayer, II, 49. - - ~Spina~: Gets B's Broadwood Pf., II, 392. - - ~Spohr, Ludwig~: His accounts of B's conducting, II, 128, 257; - his opinion of Rode, 235; - his intercourse with B., 236; - on B's music and playing, 269; - B's opinion on his music, III, 203. - - ~Spontini~: Opera "La Vestale," II, 36, 202, 296; III, 139; - B's opinion of his music, 203. - - ~Sporchil, Johann~: Submits opera-text to B., III, 118. - - ~Stadler, Abbe~: I, 376; - statement as to Trio of Seventh Symphony, II, 216; - anecdote, 234; - canon, 236. - - ~Starcke, Friedrich~: The Bagatelles, III, 48. - - ~Staudenheimer, Dr.~, B's physician: Sends him to Karlsbad, - II, 223; III, 39, 199, 273, 276. - - ~Stauffen, Franz~, Youthful pianist: II, 327. - - ~Steibelt, Daniel~: Comes to Vienna, I, 268; - encounter with B., 268; - composes battle music, II, 252. - - ~Stein~, Pianoforte maker: I, 88, 91, 92. - - ~Stein, Friedrich~, Pianist: II, 117; - and Concertos in C minor and G, 131. - - ~Stein, Dr. Fritz~: Publishes the "Jena" Symphony, I, 211. - - ~Stein, Nanette.~ (See STREICHER, NANETTE.) - - ~Stein, Matthaeus~: II, 87. - - ~Steiner, Sigmund Anton~ (and Steiner and Co.): II, 279, 364; - III, lends B. money, 21; - canon, "Hol' euch der Teufel," 23; - letter, 38; - duns B. for money, 38, 58, 59, 71, 114, 184; - friction with B., 234; - torchbearer at B's funeral, 312. - - "~Steinerne Braut, Die~": Opera by Liechtenstein, I, 305. - - ~Sterkel, Abbe~: I, 113. - - ~Stich, Johann Wenzel.~ (See PUNTO.) - - ~Stieler, Joseph~: Paints B's portrait, III, 41. - - ~Storck~: I, 336. - - ~Streicher, Andreas~: I, 91, 92; - collects funds for Bach's daughter, 308; II, 391; III, 180; - torchbearer at B's funeral, 312. - - ~Streicher~, pianofortes: II, 87. - - ~Streicher, Nanette~: II, 87; - puts B's house in order, 244; - letter from B., 394. - - ~Stummer, Fraeulein~, Singer: Marries Count Lichnowsky, II, 291. - - ~Stumpf~, Pianoforte tuner of London: II, 391. - - ~Stumpff, Johann~: His visit to B., III, 181 _et seq._; - gives Handel's scores to B., 182, 277, 289, 290, 291. - - ~Sturm, Christian~: "Beobachtungen ueber die Werke Gottes, - etc.," I, 252; II, 55, 165. - - ~Stutterheim, Baron von~: Gives Nephew of B. cadetship, III, 264; - dedication, 297. - - ~Sulkowsky, Prince~: I, 20. - - ~Sumner, Charles~: Recommends Thayer for consulship, I, x. - - "~Suendfluth, Die~": Oratorio, II, 156. - - ~Suessmayer, F. X.~: I, 165, 188; - "Soliman II.," 327; II, 2; - "Spiegel von Arkadien," 49. - - ~Sweden, King of~: Subscription for the Mass in D, III, 102. - - ~Sweden~, Royal Academy of: Elects B. Hon. Mem., 130, 163. - - "~Swetard's Zauberguertel~": Opera by Fischer, II, 49. - - ~Swieten, Gottfried Freiherr von~: I, 171; - bids B. bring his night-cap, 175, 205; - dedication of First Symphony, 228, 290. - - ~Swift, Dean~: I, 4. - - ~Swinburne, Henry~: Description of Bonn and its Electors, I, 16, 78. - - - "~Tage der Gefahr, Die.~" (See LES DEUX JOURNEES.) - - "~Tantum ergo sacramentum~": III, 116. - - "~Tartarische Gesetz, Das~": Opera by d'Antoine, I, 31. - - ~Taxis, Mme. de~: I, 16. - - ~Tayber, Anton~: III, 115. - - ~Teimer~, brothers: I, 206. - - ~Telemann~: I, 13; - his fluency in composition, 85. - - ~Tenger, Mariam~: "Beethoven's unsterbliche Geliebte," I, 338. - - ~Teplitz~: B's visit to, II, 202, 204 _et seq._; - meeting-place of political magnates, 221; - B's second visit in 1812, 222. - - ~Teutonic Order~: Clemens August elected Grand Master of, I, 7; - opens the strong box, 8; - Duke Karl of Lorraine Grand Master, 77, 98; - Count Waldstein admitted to membership, 101, 111; - Stephan von Breuning receives appointment in, 198; - Archduke Karl elected coadjutor to Grand Master, 288; - B. advises Breuning to enter the service, 303. - - ~Teyber~: II, 3. - - ~Thalberg, Sigismund~: His account of the performance of - the Ninth Symphony, III, 166. - - ~Thayer, Alexander Wheelock~: Vicissitudes of his biography of - B., I, vii _et seq._; - the "Chronologisches Verzeichniss," ix, 74, 75; - sketch of his life and labors, ix _et seq._; - connected with the "New York Tribune," ix; - second visit to Europe, x; - receives funds for research work, x; - visits all surviving friends of B., x; - employed at U. S. Legation in Vienna, x; - appointed Consul at Trieste, x; - his purposes, xi; - why the work was published in German, xii; - writes book on the Exodus of the Jews, xiii; - also on Bacon and Shakespeare, xiii; - his discoveries accepted, xiv; - labor unremunerated, xiv; - death of, xiv; - publication of this work delayed by the World War, xviii; - promoted by the Beethoven Association of New York, xviii; - his work on the Conversation Book, III, 12; - defence of Johann v. B., 68; - on the commission from the Handel and Haydn Society of Boston, 88; - visits Sir George Smart, 208 _et seq._ - - ~Thomas-San-Galli, Dr. Wolfgang~: His book on B's love-affairs, - I, 337; II, 239. - - ~Thomson, George~, Publisher of National Songs: II, 17 _et seq._; - 69, 156, 259, 363, 415; III, 16. - - ~Thun, Princess Christiane~: I, 181, 225. - - ~Thun, Countess Elizabeth~: II, 81. - - ~Thun, Countess~: I, 244; - dedication of Pf. arrangement of "Prometheus," I, 290. - - ~Thun, Count Franz Joseph von~: I, 181. - - ~Tiedge~: B's association with him at Teplitz, II, 204, 206, 208. - - ~Tiller, Theresia~: Sells apothecary shop to Johann v. B., II, 115. - - "~Timotheus~": Oratorio by Handel, II, 216. - - "~Tod Jesu~": Oratorio by Graun, II, 89. - - ~Tomaschek~: Describes B's Pf. playing, I, 217, 257; - on "Wellington's Victory," II, 256; - meeting with B., 297. - - ~Tomasini, Luigi~, Singer: II, 2. - - ~Touchemoulin~: Court Chapelmaster in Bonn, I, 17, 46. - - ~Trautmannsdorf, Prince~: I, 172. - - "~Tre Amanti ridicoli, Li~": Opera, I, 27. - - ~Treitschke, Georg Friedrich~: II. 35; - revises text of "Fidelio," 264; - "Gute Nachricht," 268, 270, 302, 317; - letters, 273, 277, 281, 284; - "Romulus and Remus," 304, 381; - "Die Ehrenpforten," 317. - - ~Tribolet, Mme.~: I, 200, 242. - - "~Tribune, The New York~": Thayer on its editorial staff, I, ix; - W. H. Fry, musical critic, 358; III, 68. - - "~Trionfo d'Amore~": Opera by Dutillier, I, 165. - - "~Trofonio's Zauberguertel~" ("Grotta di Trofonio"): - Opera by Salieri, I, 107. - - ~Truchsee-Waldburg, Count~: II, 124. - - ~Tschiska, Dr.~: III, 3. - - ~Tuerkheim, Anton von~: I, 288; III, 97. - - ~Tuscany, Grand Duke of~: Subscribes for the Mass in D, - III, 95, 101, 105. - - ~Tuscher, Matthias~: one-time guardian of the nephew, - III, 4, 5, 7, 30. - - - ~Ulm~: Captured by the French, II, 51. - - ~Umlauf, Ignaz~: "Die schoene Schusterin," I, 108, 165, 204; - saves performance at which B. conducts, II, 263; - conducts "Fidelio," 279; III, 157. - - ~Ungermann~, Police Director: III, 132. - - ~Ungher, Caroline~: III, 77, 78, 161, 162, 164, 166. - - "~Unterbrochene Opferfest, Das~": Opera by Winter, I, 227. - - - "~Van~": not a predicate of noble birth, II, 404, 408. - - ~Van den Eeden, Heinrich~: I, 5; - appointed second Court Organist at Bonn, I, 10; - salary increased, 10, 25; - gives lessons to B., 61, 62, 64; - death of, 69. - - ~Vanhall, Joseph~, Composer: I, 173. - - ~Varena, Ritter von~: II, 205; - asks for music for Ursulines at Gratz, 214; - B's letters to, II, 218, 246, 247, 249. - - ~Varnhagen von Ense~: His account of B's sojourn at Teplitz, - II, 204, 222, 302. - - ~Vering, Dr.~: Treats B., I, 300, 302, 348. - - "~Vestale, La~": Opera by Spontini, II, 36, 296; III, 139. - - "~Vesta's Feuer~": Opera by Weigl, II, 49. - - ~Victoria, Princess of England~: Wedding hymn on her marriage - to Frederick III of Prussia, III, 13. - - ~Vienna~: B's first visit to, I, 89; - second journey, 124; - route travelled and incidents, 126; - arrival in the city, 128, 146; - state of music in, at the time, 163 _et seq._; - theatres, 163 _et seq._; - church music, 165; - performing musicians, 170; - composers, 172, 174; - private theatres, 173; - B's position in Society, 174 _et seq._ - --II, Music in 1803, 2; - lapse of public concerts, 42; - entered by French, 52; - administration of the Court Theatres, 98; - B. appointed composer for the theatres, 98; - appreciation of his music in the city, 116; - arrival of friends in 1808, 124; - popular attitude toward B., 126; - beleaguered and occupied by the French, 144, 145; - tax on dwellings, 146, 150; - under French, 149; - direction of the theatres assumed by Lobkowitz and Palffy, 201; - B. made Hon. Citizen of the city, 325; - its journals and their treatment of B., 358. - --III, Society of Merchants elects B. Hon. Mem., 21; - taste denounced by B., 202. - - ~Vigano, Salvatore~: Ballet "Le Nozze disturbata," I, 188; - sketch of, 283; - ballet "Raoul, Sire de Croqui," 283; - "Prometheus," 284 _et seq._ - - "~Villanella di spirito, La~": Opera, I, 108. - - ~Viotti~: II, 12. - - ~Vivenot, Dr.~: Summoned to B. at last sickness, III, 273. - - ~Vogl, Johann Michael~: I, 230. - - ~Vogler, Abbe Georg Joseph~: In Bonn, I, 123; - engaged to compose operas in Vienna, II, 2, 4; - "Hermann von Staufen" and "Hermann von Unna," 4, 12; - his extempore playing, 15; - his opera "Samori," 23. - - ~Volbach~: I, 337. - - ~Volta~, Violinist: II, 125. - - ~Von der Recke, Countess~: II, 204, 208, 222. - - - ~Waldstein, Count Emanuel Philip~: I, 101. - - ~Waldstein, Count Ferdinand Gabriel~: B's first meeting with, - I, 93 _et seq._; 101, 102; - knighted by Max Franz, 102; - absolved from his vow of celibacy and marries, 103; - his aid to B., 103, 117; - the book of the "Ritter-Ballet," 108, 122; - inscription in B's album, 126; - The "Ritter-Ballet," 133; - family connections of, 174, 244; - second marriage of, II, 111, 146; III, 24. - (See SONATA OP. 53.) - - ~Walkowski~: II, 305. - - ~Walter~: I, 355. - - ~Wartensee, Xaver Schneider von~: II, 381. - - ~Wasielewski~: I, 208. - - ~Wawruch, Dr.~: In attendance on B. at his last illness, - III, 273 _et seq._; - B's dissatisfaction with him, 283; - report on B's illness and death, 275 _et seq._ - - ~Weber, Carl Maria von~: I, 112; - his first visit to Vienna, II, 23; - interest in Amalie Sebald, 205; - produces "Fidelio" in Dresden, III, 129; - visits B., 136 _et seq._; - "Der Freischuetz," 131, 135, 137; - "Euryanthe," 131, 137, 139, 140. - - ~Weber, Dionysius~: II, 282. - - ~Weber, Franz Anton von~: I, 112. - - ~Weber, Gottfried~: Publishes letters by B., II, 183, 384; - attacks authenticity of Mozart's "Requiem," 235. - - ~Weber, Max Maria von~: III, 138. - - ~Weber, W.~: Sells publishing rights in Thayer's biography - to Breitkopf and Haertel, I, xv. - - ~Wedding Song~: Arranged for the wedding of Princess Victoria - of England and Frederick III of Prussia, III, 13. - - ~Wegeler, F. G.~: His "Biographische Notizen," I, ix, xi, 79, - 89, 94, _et seq._; 99, 117; - comes to Vienna, 179; - his account of B's status there, 180; - letters from B., 181, 182; - on B. as a lover, 182, 186; - said to have recommended B. as teacher to the Breuning family, 100; - on Count Waldstein, 102; - on B's susceptibility to women, 122; - letters from B., 299, 301; - error in date of an important letter, 308. - --II, B. asks him to get the certificate of his baptism, 177; - publication of B's letters, 183. - --III, 197, 214, 288, 297. - - ~Wegeler, Karl~: I, 96, 102, 181. - - ~Weigl, Joseph~, Chapelmaster and composer: I, 163; - "L'Amore marinaro," 225; - respected by B., 241; - "Corsar aus Liebe," 268; - the same, II, 2; - "Die Schweizerfamilie," 2; - "Vesta's Feuer," 49, 279; - pallbearer at B's funeral, III, 312. - - ~Weimar, Grand Duke of~: The Mass in D, III, 98; - B. contemplates a visit to, II, 198. - - ~Weinkopf~: Singer in first performance of "Fidelio," II, 50. - - ~Weinmueller~, Bass singer: II, 267, 285, 286. - - ~Weiss, Franz~, Viola player: I, 170, 274; II, 125, 337. - - ~Weiss, Dr. Leopold~: II, 303. - - ~Weiss, Pater~: Attempts to cure B's deafness, II, 96; III, 85. - - ~Weissenbach, Dr. Alois~: His "Reise zum Congress," I, 263; - description of B., II, 293; - his dramas, 293; - "Der glorreiche Augenblick," 294. - - ~Weissenthurm, Mme.~: I, 133. - - ~Werner, Zacharias~: III, 44. - - ~Wesley, Samuel~: II, 12. - - ~Westerholt, Count Friedrich Rudolph Anton~: And his family, - I, 121, 137. - - ~Westerholt, Fraeulein~: I, 120, 121, 122. - - ~Westphalia.~ (See BONAPARTE, JEROME, and CASSEL.) - - ~Wheeler~, U. S. Consul: Interviews Julius Merz concerning the - Bettina-B. letters, II, 184, 185. - - ~Wieck, Friedrich~: Visits B., III, 236. - - ~Wild, Singer~: II, 305, 338. - - ~Willcox, E. S.~: I, xiii. - - ~Willmann, Magdalena~: I, 200, 235; - career of, 242; - receives proposal of marriage from B., 242; - marriage and death of, 243, 282, 330, 337. - - ~Willmann, Max~: I, 242. - - ~Wimpfen, Countess~: III, 110. - - ~Winneberger~: Chapelmaster at Wallenstein, I, 114. - - ~Winter~: Opera "Das unterbrochene Opferfest," I, 227. - - ~Winter, Karl~: Judge of the Austrian Court of Appeals, III, 29. - - ~Wolanek~, Copyist: Excites B's ire, III, 191. - - ~Wolf~: Opera "Das Rosenfest," I, 32. - - ~Woelffl, Joseph~, Pianist: I, 214; - his playing compared with B's, 215; - dedicates Sonata to B., 217. - - ~Wolfmayer, Johann Nepomuk~: Substitutes new coat for B's old, - III, 230; - pays B. for a Requiem which is never composed, 220, 296; - torchbearer at B's funeral, 312. - - ~Wranitzky, Anton~: II, 125. - - ~Wranitzky, Paul~: I, 165; - "Oberon," 165; - "Das Waldmaedchen," 210. - - ~Wuerfel~, Chapelmaster: Pallbearer at B's funeral, III, 312. - - ~Wuerth and Fellner~: Organize concerts in Vienna, II, 42. - - ~Wyzewa, Theodore~: I, 139. - - ~Yellowhammer~: Song of, in the "Pastoral" Symphony, II, 120, 121. - - - ~Zambona~: Gives B. lessons in Latin, I, 65. - - "~Zauberfloete, Die~": Opera by Mozart, I, 164, 226, 304. - - ~Zeithammer, Dr. Ottokar~: The Lobkowitz cantata, II, 354. - - "~Zelmira~": Opera by Rossini, III, 20, 77. - - ~Zelter, Karl Friedrich~: Association with B., III, 16, 18, 104, 110. - - "~Zemire et Azor~": Opera by Gretry, I, 32, 86. - - "~Zemire und Azor~": Opera by Neefe, I, 36. - - ~Zenser~: Reputed to have taught organ to B., I, 64. - - ~Zichy, Count Stephen~: II, 98. - - ~Zingarelli~: Opera "Romeo and Juliet," II, 172. - - ~Zitterbarth~: Buys interest in Schikaneder's theatre, II, 22. - - ~Zizius, Dr. Johann~: II, 88. - - ~Zmeskall von Domanovecz, Nicolaus~: I, 192, 230; - his posthumous papers, 236, 273; - B. asks his aid in purchase of pianoforte, 355; - letters from B., 231; II, 88, 97, 144, 155, 174, 208, - 217, 245, 246, 247, 248, 262, 271, 330, 349; II, 113, 144; - the Quartet in F minor, 193, 351; - and Maelzel's metronome, 384 _et seq._; III, 24, 42, 288. - - ~Zuccalmaglio~: I, 278. - - ~Zulehner, Carl~: His reprints denounced by B., II, 18, 38. - - - - -Index to Compositions - - -(a) WORKS FOR ORCHESTRA ALONE - - ~Symphonies~: - - No. 1, C major, Op. 21--Date of composition, I, 227, 266, 267, - 272, 277, 282, 286, 290; II, 6, 39, 42; - arranged as Pf. Quintet, I, 228. - - No. 2, D major, Op. 36--I, 140, 354, 364, 365, 371; II, 6, 39, - 42, 73, 112, 113; - arranged as Pf. Trio, II, 40; - arranged as Quintet, II, 113. - - No. 3, E-flat major, Op. 55 ("Eroica")--I, 212; II, 14, 20, 24 - _et seq._; 33, 40; - first public performances of, 42 _et seq._; 66, 67; - publication of, 77, 112, 116, 149, 369; III, 50; - arranged for Pf. Quartet, II, 113. - - No. 4, B-flat major, Op. 60--II, 68, 73, 76, 101, 112, 116, 122, - 123, 162, 166, 371. - - No. 5, C minor, Op. 67--I, 307; II, 73, 76, 107, 109, 113, 123, - 126, 127, 129, 132, 141, 162, 166, 186; - correction of error in Scherzo of, 192; 216, 250, 334, 348, - 369, 379; III, 50. - - No. 6, F major, Op. 68 ("Pastoral")--I, 349, 354; II, 73, 110, - 119, 120; - country musicians parodied in Scherzo, 121, 122; 127, 131, - 141, 162, 166, 209, 316; III, 14, 50. - - No. 7, A major, Op. 92--II, 151, 152, 166, 216; - melody of the Trio, 216; 237, 257; - Allegretto repeated at the first performance, 258; 267, 299, - 311, 312, 313, 318, 319, 324, 325, 334, 337, 339, 340, - 347, 348, 350, 352, 353, 356, 357, 367; III, 14, 37, 50, - 144, 302. - - No. 8, F major, Op. 93--II, 152, 166, 232; - the Allegretto and the canon on Maelzel, 234 _et seq._; 237, - 240, 267, 268, 311, 312, 313, 318, 357, 388; III, 144. - - No. 9, D minor, Op. 125 (with vocal solos and chorus)--I, xi; - trombone parts, II, 7; 73, 90, 133, 152, 378, 411, 414; III, - 15, 22, 87, 95; - and the Philharmonic Society of London, 110 (see "London - Philharmonic Society" under BEETHOVEN, LUDWIG V.); 128, 132; - composition, first performance, repetition, 144 _et seq._; - origin of the theme of the Scherzo, 145; - B.'s doubts concerning the finale, 152, 153; - address to B. by his friends, 153 _et seq._; - a conspiracy to further the performance, 158, 159; - trouble about orchestra leader, 157, 160; - the solo singers, 162, 164; - rehearsals, 163; - programme of the concert, 164; - incidents of the first performance, 165 _et seq._; - financial failure and B.'s disappointment, 167; - B. upbraids his friends and dines alone, 167; - the second performance, 168 _et seq._; 170; - offer of score to Schott, 177; - offer to Probst, 178; - performed at Aix-la-Chapelle, 188; - Smart gets tempi from B., 208, 209; - the recitatives, 209, 226; - dedication, 231 _et seq._; - metronome marks, 244, 292; - the autograph manuscript, 266. - - "Wellington's Victory, or The Battle of Victoria," Op. 91--II, - 251 _et seq._; 262 _et seq._; 259, 267, 268, 271, 272, 283, - 290, 299, 309, 310, 311, 312, 313, 318, 319, 324, 325, 335, - 339, 340, 353, 356; III, 113, 208, 211. - - "Jena"--I, 211. - - Sketches for uncompleted symphonies--A "Tenth," II, 414; III, 221 - _et seq._; - in B minor, II, 310, 328; - in C minor, I, 210. - - - ~Overtures, Ballets, Marches, Dances~, etc.: - - Overture, "Coriolan," Op. 62--II, 101, 102, 105, 112, 117, 124, - 127, 133, 172, 209, 216, 268, 284. - - Overture in C, Op. 124, "Consecration of the House." (See WEIHE - DES HAUSES, under (c) Choral Works, etc.) - - Overture to "Fidelio." (See "FIDELIO.") - - Overtures, "Leonore," Nos. 1, 2 and 3. (See "FIDELIO.") - - Overture in C, Op. 115--II, 292, 296, 302, 303, 311, 312, 313, - 316, 327, 334, 335, 413; III, 50. - - Overture to "Koenig Stephan" ("King Stephen"), Op. 117--II, 208, - 209, 213, 214, 218, 246, 313, 316, 334, 413; III, 57, 70, 72. - - "Ritter-Ballet"--I, 108, 111, 117, 133, 142. - - Ballet, "Die Geschoepfe des Prometheus" ("The Men of Prometheus"), - Op. 43--I, 280; - history of, 283 _et seq._; 290, 304, 364, 370; II, 5, 39, 52, 102, - 112, 216, 356; III, 14. - - Dances for the Ridotto Room--I, 188, 192, 202, 210, 211, 289. - - Contradances and "Laendrische"--I, 289, 364, 365. - - Ecossaises (Twelve) for Strings with Wind _ad lib._--II, 113. - - Ecossaise for Military Band--II, 194. - - "Gratulatory Minuet"--III, 64, 80, 82, 89. - - Polonaise for Military Band--II, 194. - - Waltzes for Strings with Wind _ad lib._--II, 113. - - Waltzes, for a Country Band--III, 22. - - Military March, in D--II, 356; III, 142. - - Military Marches, in F--II, 160, 162, 195; III, 64, 141. - - Funeral March for "Leonore Prohaska," arranged from the Sonata - Op. 26--II, 298, 299; III, 312. - - Rondino for Wind-instruments--I, 134. - - Triumphal March, for Kueffner's "Tarpeja"--II, 245, 250, 259; III, 58. - - Equale for Three Trombones--II, 237; - arranged for voices and sung at B.'s funeral, III, 311. - - -(b) INSTRUMENTAL SOLOS WITH ORCHESTRA - - ~Concertos~, etc.: - - Allegro con brio, for Violin, in C, completed by Hellmesberger--I, - 136. - - For Violin, in D major, Op. 61--II, 76, 103, 104, 112, 134, 162, 166; - arranged for Pianoforte--I, 350; II, 103, 104, 112, 134. - - For Pianoforte, in E-flat (Youthful)--I, 75. - - For Pianoforte, in D major (Youthful)--I, 136. - - For Pianoforte, in C, No. 1, Op. 15--I, 137, 177, 185, 217, - 222, 224, 244, 272, 287, 289; II, 39, 90. - - For Pianoforte, B-flat major, No. 2, Op. 19--I, 136, 144, 177, - 184, 185, 188, 208, 217, 222, 224, 225, 226, 272, 275, 286, - 287, 290, 299; II, 39; III, 50, 279. - (See RONDO IN B-FLAT.) - - For Pianoforte, in C minor, No. 3, Op. 37--I, 270, 277, 364; - II, 6, 7, 30, 32, 37, 39, 42, 131. - - For Pianoforte, in G major, No. 4, Op. 58--II, 56, 66, 67, 68, - 73, 74, 101, 110, 131, 134. - - For Pianoforte, in E-flat major, No. 5, Op. 73--II, 133, 147, - 149, 150, 159, 160, 192, 199, 209, 215, 216. - - For Pianoforte, Violin and Violoncello, Op. 56--II, 40, 56, - 73, 80, 113, 117. - - Romance for Violin, in G, Op. 40--II, 20, 25, 26; III, 59. - - Romance for Violin, in F, Op. 50--I, 140; II, 25, 26, 55; III, 59. - - Rondo for Pianoforte, in B-flat, completed by Czerny--I, 223. - - Sketches for Pianoforte Concerto in D--II, 328. - - -(c) CHORAL WORKS AND PIECES FOR SOLI AND CHORUS - - Abschiedsgesang, for Men's Voices--II, 303. - - "Ah, perfido! spergiuro," Scena for Soprano and Orchestra, - Op. 65--I, 143, 206, 209; II, 6, 56, 129. - - Birthday Cantata for Archduke Rudolph--III, 25. - - Bundeslied, for Soprano and Orch.--III, 64, 141. - - Cantata on the Death of Cressener (Youthful)--I, 65. - - Cantata on the Death of Joseph II--I, 130. - - Cantata on the Elevation of Leopold II--I, 130, 131. - - "Christus am Oelberg," Oratorio, Op. 85--I, 143, 289, 364; II, 2; - first performance of, 5 _et seq._; - criticism of, 8, 35; 45, 52, 74, 156, 199, 204, 210, 246, 250, - 309, 310, 327; III, 50, 174, 189, 208. - - "Der glorreiche Augenblick," Cantata, Op. 136--II, 294, 299, 300, - 303, 305, 313, 318, 333, 339, 352. - - "Egmont," incidental music for, Op. 84--Commission for, II, 153, 166; - composition and first performance of, 171, 181, 192, 194, 197, 198; - 209, 214, 216, 224, 238, 268; III, 75. - - Elegiac Song, for four Voices and Strings, composed in memory of - Baroness Pasqualati, Op. 118--II, 288, 303; III, 58. - - "Es ist vollbracht," Chorus for "Die Ehrenpforten"--II, 317, 328. - - Fantasia for Pianoforte, Chorus and Orchestra, Op. 80--I, 203; - II, 90, 127, 129 _et seq._; 131, 133, 136, 160, 166, 192, 199; - dedication of, 207; 209, 369, 388; III, 177. - - "Fidelio," Opera, Op. 72--I, 145, 230, 263, 320; II, 19, 20, 35, 40; - composition of, 41; 45 _et seq._; - first performance, 49 _et seq._; - criticisms, 52; - first revision of, 53, 55, 56; - repetition and revision, 57 _et seq._; - overtures, "Fidelio" and "Leonore" Nos. 1, 2 and 3, 58 _et seq._; - 60, 110, 111, 278, 279; - Roeckel's account of the withdrawal of, 63; - Salieri's advice asked and rejected, 64; - Milder-Hauptmann and the great scena, 64; - Cherubini's opinion, 63, 64; - offered to Berlin, 64; - Pf. score offered to Breitkopf and Haertel, 66; - sketches for, 73, 100; - in Prague, 110; - revival in 1814, 263 _et seq._; 268, 273 _et seq._; 280; - publication as "Leonore," 285 _et seq._; - Pf. score by Moscheles pirated, 283; 284, 285; - "Abscheulicher," 285; 286, 293, 296, 303, 305, 307, 311, 313, 318, - 330, 350, 351, 352, 353, 381; III, 82 _et seq._; 117; - in Dresden, 129 _et seq._; 139, 202, 288. - - "Germania, wie stehst Du jetzt," Chorus--II, 269, 277, 279, 302, - 303, 317. - - "Ihr weisen Gruender," Chorus--II, 288, 292, 303. - - "Leonore Prohaska," incidental music for--II, 298, 303. - - "Lob auf den Dicken," jest on Schuppanzigh--I, 238. - - Mass in C major, Op. 86--II, 107 _et seq._; 108, 112, 127, 142; - performed at Troppau, 208; 223, 238, 310; III, 103. - - Mass in D major, Op. 123 (_Missa Solemnis_)--I, 320; II, 398, 411, - 414; - III, 15, 21, 22, 37; - B. gets advance on, 39, 41, 42; - negotiations with Simrock, 44 _et seq._; 48, 51 _et seq._; 71, - 72, 86; - history of the composition, subscription and publication, - 89 _et seq._; 105; - sold to Diabelli, 107; - contract cancelled, 108; - additional numbers to, 116, 151, 162; - first performance, 164 _et seq._; 169, 174; - publication of, 177 _et seq._; - offered to Probst, 178; - sold to Schott, 177, 180; - dedication, 212, 226; - metronomic marks for, 296. - - Sketches for a Mass in C-sharp minor--III, 63, 116, 117, 141. - - "Meeresstille und glueckliche Fahrt," Cantata, Op. 112--II, 300, - 310, 327, 328. - - "Mit Maedeln sich vertragen," Song with Orchestra. (See SONGS.) - - "Mount of Olives, The." (See "CHRISTUS AM OeLBERG.") - - "Opferlied," for Soprano, Chorus and Orchestra, Op. 121b--I, 203, - 275, 364; III, 64. - - "Praise of Music, The" and "Preis der Tonkunst." (See "DER GLORREICHE - AUGENBLICK.") - - "Primo Amore," Song with Orch.--III, 58. - - "Pruefung des Kuessens." (See SONGS.) - - "Rasch tritt der Tod," Chorus of Monks from Schiller's - "William Tell"--II, 365, 368, 388. - - "Ruinen von Athen" ("The Ruins of Athens"), incidental music - for, Op. 113--II, 161, 201, 207, 208, 209, 213, 214, 216, - 246, 249, 262, 264, 278, 311, 313, 316, 334; III, 57, 70, - 71, 79, 80; - B.'s "Little opera," 118; 189. - - Airs from "Die schoene Schusterin"--I, 204, 224. - - "Tremate, empj, tremate," Terzetto with Orch., Op. 116--I, 365; - II, 6, 267, 302, 313; III, 169. - - Un lieto Brindisi, for four Voices and Pf.--II, 280, 302. - - "Weihe des Hauses, Die," incidental music for; - Overture, Op. 124--II, 26; III, 57, 79, 80, 81, 89, 111, 146, - 162, 165, 226; - "Wo sich die Pulse," Chorus, III, 72, 80. - - - ~Canons and Rounds~: "Alles Gute, alles Schoene," III, 25; - "Ars longa" (for Hummel), II, 338; - "Airs longa" (for Smart), III, 211; - "Bester Graf," III, 115; - "Das Schoene zu dem Guten," III, 140, 202; - "Doktor, sperrt das Thor," III, 200; - "Edel sei der Mensch," III, 110, 126; - "Freu' dich des Lebens," III, 211; - "Gedenkt heute an Baden," III, 90; - "Gehabt euch wohl," III, 90; - "Glaube und hoffe," III, 23; - "Glueck fehl Dir," II, 363; - "Glueck zum neuen Jahre," II, 328, 356; III, 21, 22; - "Grossen Dank," III, 131; - "Hier ist das Werk," III, 246; - "Hol' euch der Teufel," III, 22; - "Hoffmann, sei ja kein Hofmann," III, 35, 190; - "Kuehl, nicht lau," III, 204; - "Kurz ist der Schmerz" (for Naue), II, 259; - "Kurz ist der Schmerz" (for Spohr), II, 303; - "Lerne schweigen, O Freund," II, 328, 333, 389; - "Muss es sein?", III, 224, 244; - "O Tobias," III, 43, 90; - "Rede, rede," II, 328, 333; - "Sankt Petrus war ein Fels," III, 32; - "Schwenke dich," III, 182, 190; - "Signor Abbate," III, 236; - "Ta, ta, ta, lieber Maelzel," II, 234 _et seq._; - "Te solo adoro," III, 143; - "Tugend is kein leerer Name," III, 90. - - -(d) INSTRUMENTAL DUOS, TRIOS, QUARTETS, etc. - - "Duet mit zwei Augenglaesern," for Viola and Violoncello--I, 205. - - Duo for Clarinet and Bassoon--I, 205. - - Duo, Arrangement of Trio Op. 3 for Pf. and Violoncello, - Op. 64--II, 113. - - Duo for two Flutes--I, 134. - - Polonaise from Serenade in D, arranged for two Violins--II, 113; - the same arranged for Violin and Guitar--II, 113. - - Trios (Three) for Pf., Violin and Violoncello in E-flat, G, - and C minor, Op. 1--I, 130, 132, 137, 144, 145, 160, - 175, 180, 185, 186, 208, 271; II, 326, 374, 388; III, 23, 40. - - Trio for Violin, Viola and Violoncello, in E-flat, Op. 3--I, - 134, 135, 145, 180, 187, 200, 204, 206, 221. - - Trio in D (Serenade) for Violin, Viola and Violoncello, Op. 8--I, - 202, 208; II, 113. - - Trios (Three) for Violin, Viola and Violoncello, in G major, - D major and C minor, Op. 9--I, 209, 221, 225, 271; II, 77. - - The same, arranged for Pf. and Strings by Ries--I, 350; II, 77. - - Trio for Pf., Clarinet (or Violin) and Violoncello, in B-flat - major, Op. 11--I, 225, 244. - - Trio (Serenade) for Flute, Violin and Viola, in D major. - Op. 25--I, 207, 208, 364; II, 20. - - Trio for Pf., Clarinet (or Violin) and Violoncello, in E-flat, - Op. 38 (arrangement of the Septet, Op. 20)--I, 350; II, 55. - - Trio for Pf., Violin and Violoncello, in E-flat, Op. 63 - (arrangement of the Quintet, Op. 4, which see). - - Trios (Two) for Pf., Violin and Violoncello, in D major and - E-flat, Op. 70--II, 131, 132, 141, 162; III, 207. - - Trio for two Violins and Viola, in C, Op. 29 (arrangement of - the Trio for two Oboes and English Horn)--I, 206; II, 77. - - Trio for two Oboes and English Horn, in C, Op. 87--I, 206; - II, 77; III, 59. - - Trio for Pf., Violin and Violoncello, in B-flat, Op. 97--II, - 199, 209, 219, 269, 270, 311, 312, 313, 318, 319, 325, - 338, 340, 347, 350, 351, 352, 353, 357, 367; III, 136, 223. - - Trios for Pf., Violin and Violoncello, arranged from the String - Quartets, Op. 18--II, 77. - - Trio arranged from the Second Symphony--II, 40. - - Trio for Pf., Violin and Violoncello, in E-flat (Op. posth.)--I, 136. - - Trio in one Movement, for Pf., Violin and Violoncello (for Maximiliane - Brentano)--II, 221, 237; III, 136. - - Trio, Adagio, Variations (on "Ich bin der Schneider Kakadu") and - Rondo, for Pf., Violin and Violoncello, Op. 121a--III, 136. - - Trio for Pf., Violin and Violoncello, in D (attributed to Mozart: - K. 52a)--I, 139. - - Trio for Pf., Flute and Bassoon--I, 137. - - Trio (Variations on "La ci darem") for two Oboes and English - Horn--I, 202, 206; III, 64. - - Quartets (Six) for Strings, in F, G, D, C minor, A and B-flat, - Op. 18--I, 227, 228, 235, 272 _et seq._; 277, 279, 280, - 290, 298, 307; II, 77, 89. - - Quartets (Three) in F, E minor, and C, Op. 59 ("Rasoumowsky")--II, - 65, 68, 73, 75 _et seq._; 82, 97, 103, 104, 105, 133, 337. - - Quartet for Strings, in E-flat, Op. 74 ("Harp")--II, 155, 159, 160, - 195, 198. - - Quartet for Strings, in F minor, Op. 95--II, 172, 193, 195, 219, - 311, 312, 313, 318, 339, 340, 351, 357, 364; III, 183. - - Quartet for Strings, in E-flat, Op. 127--III, 140, 177, 183 - _et seq._; 187, 192 _et seq._; 201, 214 _et seq._ - - Quartet for Strings, in B-flat, Op 130--III, 205, 214 _et seq._; - 221, 222 _et seq._; 225, 237, 245. - - Quartet for Strings, in C-sharp minor, Op. 131--III, 218, 225, 296, - 297, 307. - - Quartet for Strings, in A minor, Op. 132--III, 205, 206, 214 - _et seq._; 219, 223. - - Quartet for Strings, Grand Fugue (originally Finale of Op. 130)--III, - 215, 223. - - Quartet for Strings, in F major, Op. 135--III, 225, 237, 244, 282. - - Fugue from a String Quartet in D, from a collection projected - - by Haslinger--II, 389. - - Quartet for Strings, arranged from Pf. Sonata Op. 14, No. 1--I, 349. - - Quartets (Three) in E-flat, D and C, for Pf. and Strings, composed - in 1785--I, 88, 210. - - Quartet for Strings, an arrangement of the Quintet in E-flat, - published by Artaria as Op. 75--I, 208. - - Quartet in E-flat, for Pf., Violin, Viola and Violoncello, - arranged by B. from Quintet Op. 16--I, 208, 350. - - Quartet (arrangement of the "Eroica" Symphony as Pf. Quartet)--II, - 113. - - Quintet for Strings, in E-flat, Op. 4 (an arrangement of the Octet, - Op. 103)--I, 134, 144, 187, 204. - - Quintet for Pf., Oboe, Clarinet, Bassoon and Horn, in E-flat, - Op. 16--I, 200, 207, 214, 224, 290, 316, 350; II, 2, 34, 337. - - Quintet for Strings, in C, Op. 29--I, 228, 293; - unauthorised publication of, 294 _et seq._; 355, 364, 368; II, 44. - - Quintet for Strings, in C minor, Op. 104 (arranged from the Trio, - Op. 1, No. 3)--II, 374, 388; III, 23. - - Quintet (arrangement of the First Symphony)--I, 228. - - Quintet, Pf., Double-bass, Flute, Horns, etc. (arrangement of the - Second Symphony with Double-bass, Flute and 2 Horns, - ad lib.)--II, 113. - - Sextet in E-flat, for Clarinets, Horns and Bassoons, Op. 71--I, 206, - - 207, 209; II, 41, 147, 195. - - Sextet in E-flat, for Strings and Horns, Op. 81b--I, 207; II, 195. - - Septet in E-flat, Op. 20--I, 209, 227, 266, 267; - B.'s dislike of it, 267; - origin of the theme of the variations, 267, 272, 275, 277, 278; - dedication, 278; - first performance, 278, 282, 286, 299, 350, 364; II, 29, 214, 316, - 337, 381, 386; - arranged as Trio, I, 350; II, 55; - arranged as Quintet, I, 228, 350. - - Octet for Wind Instruments, Op. 103 (the original of the Quintet - for Strings, Op. 4)--I, 132, 133, 134, 144, 184, 204. - - Dinner Music for Wind Instruments--I, 134. - - Parthia for Wind Instruments--I, 133, 144. - - Rondino for Oboes, Clarinets, Horns and Bassoons, in E-flat--I, 134. - - Sketches: For Trio in F minor--III, 136; - for quintets--III, 245. - - -(e) SONATAS, ETC., FOR PIANOFORTE AND OTHER INSTRUMENTS OBBLIGATO - - Three Sonatas for Pf. and Violin, in D, A and E-flat, Op. 12--I, 162, - 225, 226, 307. - - Sonata for Pf. and Violin, in A minor, Op. 23--I, 289, 290, 307. - - Sonata for Pf. and Violin, in F, Op. 24--I, 289, 290, 307. - - Three Sonatas for Pf. and Violin, in A, C minor and G, Op. 30--I, - 364, 365; II. 20, 305. - - Sonata in A, for Pf. and Violin, Op. 47 ("Kreutzer")--I, 140, 365; - II, 9, 13, 20, 21. - - Sonata for Pf. and Violin, in G, Op. 96--II, 237, 312, 313, 319, - 325, 347, 350, 353, 357, 367. - - Notturno for Pf. and Viola (arranged from the Serenade, Op. 8), - Op. 42--I, 208. - - Rondo for Pf. and Violin, in G--I, 179. - - Sonata for Pf. and Violin (arrangement of Trio for Oboes and - Bassoon)--I, 206. - - Six Allemandes for Pf. and Violin--II, 303. - - Variations on "Se vuol ballare," for Pf. and Violin--I, 132, - 138, 176, 178, 179. - - Sonata in B-flat for Pf. and Flute--I, 138. - - Two Sonatas for Pf. and Violoncello, in F and G, Op. 5--I, - 195, 200, 205. - - Sonata for Pf. and Violoncello, in A, Op. 69--II, 112, 131, - 132, 141, 150, 162, 218. - - Duo for Pf. and Flute (arranged from Serenade, Op. 25, and - published as Op. 41)--I, 208; II, 20. - - Six Variations on National Themes, for Pf. and Flute (or Violin), - Op. 105--II, 415, 416; III, 23. - - Ten Variations on National Themes, for Pf. and Flute (or Violin), - Op. 107--II, 415, 416; III, 22. - - Sonatina for Mandolin and Pf. (Cembalo)--I, 210, 236. - - Two Sonatas for Pf. and Violoncello, in C and G, Op. 102--II, 316, - 328, 338, 339, 340, 352, 357, 367, 389; III, 23. - - Variations on "See the Conquering Hero Comes," from "Judas - Maccabaeus," for Pf. and Violoncello--I, 202, 205. - - Variations in E-flat, Op. 44, for Pf., Violin and Violoncello--I, 137. - - Variations on "Bei Maennern welche Liebe fuehlen," for Pf. and - Violoncello--I, 364. - - Variations on "Ein Maedchen oder Weibchen," for Pf. and - Violoncello--I, 226, 305. - - Arrangement of Trio, Op. 3, for Pf. and Violoncello, Op. 64--II, 113. - - Sonata for Pf. and Horn, Op. 17--I, 239, 244, 267, 274, 277, - 279, 290; II, 39. - - Sketches from "Pastoral" Sonata for Pf. and Violoncello--II, 310. - - -(f) FOR PIANOFORTE ALONE - - Three Sonatas (No. 1, F minor; No. 2, A major; No. 3, C major), - Op. 2--I, 137, 144, 186, 192, 217. - - Sonata in E-flat, Op. 7--I, 202, 209, 244, 318; II, 74. - - Sonata in C minor, Op. 10, No. 1--I, 207, 210, 224, 226, 244. - - Sonata in F major, Op. 10, No. 2--I, 224, 244; II, 76. - - Sonata in D major, Op. 10, No. 3--I, 205, 224, 244. - - Sonata in C minor, Op. 13 ("Pathetique")--I, 209, 221, 225, - 227, 307; II, 90. - - Sonata in E major, Op. 14, No. 1--I, 225, 226, 244; - arranged as a String Quartet, 349, 364. - - Sonata in G major, Op. 14, No. 2--I, 225, 244. - - Sonata in B-flat, Op. 22--I, 277, 279, 282, 286, 299, 364. - - Sonata in A-flat major, Op. 26--I, 289, 290; - story of the Funeral March, 291; - published, 364; - the Funeral March orchestrated by B., II, 298; 299; III, 312. - - Sonata quasi una Fantasia, in E-flat, Op. 27, No. 1--I, 244, - 280, 289, 291, 364. - - Sonata quasi una Fantasia, in C-sharp minor, Op. 27, No. 2--I, - 244, 289, 291, 292, 293; - dedication of, 322; - B.'s opinion of, 322; 338, 339; - published, 364. - - Sonata in D major, Op. 28 ("Pastoral")--I, 289, 292. - - Sonata in G major, Op. 31, No. 1--I, 364, 365; II, 20. - - Sonata in D minor, Op. 31, No. 2--I, 364, 365; - origin of the Finale, 368; II, 20. - - Sonata in E-flat, Op. 31, No. 3--II, 40. - - Two Sonatas, No. 1 in G minor, No. 2 in G major, Op. 49--I, - 206, 209, 225, 278; II, 55. - - Sonata in C major, Op. 53 ("Waldstein")--I, 103, 140; II, 31, - 37, 40, 55, 77. - (See ANDANTE FAVORI.) - - Sonata in F major, Op. 54--II, 31, 40, 56, 76. - - Sonata in F minor, Op. 57 ("Appassionata")--I, 140; II, 31, 40, - 73, 77, 113, 335. - - Sonata in F-sharp major, Op. 78--B.'s opinion of, I, 292; 323, - 336, 338; II, 148, 154, 160, 161; - dedication, 195. - - Sonatina in G major, Op. 79--II, 148, 160, 161; - publication of, 195. - - Sonata in E-flat, Op. 81a ("Les Adieux, l'Absence et le Retour")--II, - 143, 146, 148, 159, 160, 161, 192, 199, 200, 207, 210, 219. - - Sonata in E minor, Op. 90--II, 288, 291, 303, 328. - - Sonata in A major, Op. 101 ("fuer Hammerklavier")--II, 328, 338, - 356, 364, 365, 389, 412. - - Sonata in B-flat, Op. 106--II, 376, 378, 382, 388, 389, 396, 411, - 412, 413, 414, 415; III, 23, 145. - - Sonata in E major, Op. 109--III, 48, 49, 90. - - Sonata in A-flat, Op. 110--III, 48, 49, 90. - - Sonata in C minor, Op. 111--III, 48, 49, 55, 72, 90. - - Three Sonatas dedicated to Maximilian Friedrich--I, 72. - - Sonata (Unfinished) sent to Eleonore von Breuning--I, 139, 140, 179. - - Sonata for Pf. four hands, in D, Op. 6--I, 200, 209. - - Gavotte, Marcia lugubre et Rondo, for Pf. four hands (attributed to - Mozart)--I, 139. - - Grand Fugue for Pf. four hands, arranged from the Finale of the - Quartet Op. 130--III, 223, 224. - - Andante favori, in F (see SONATA, Op. 53)--II, 31, 40, 77. - - Allegretto in C minor (B. and H. Supplement, XXV, No. 299)--I, 210. - - Bagatelles, in general--I, 261; III, 57, 62. - - Bagatelles (Seven), Op. 33--I, 71, 140, 361, 362, 364, 371; II, 20. - - Bagatelles, Op. 119--I, 365, 371; III, 48, 86. - - Bagatelles (Six), Op. 126--III, 57, 64, 142 _et seq._ - - Bagatelles (B. and H. Supplement, XXV, 295)--I, 210. - - "Beethoven's letzter Gedanke" ("Derniere Pensee musicale")--II, 415. - - Ecossaise in E-flat--III, 216. - - Ecossaises (Twelve)--II, 113; III, 216. - - Fantasia, Op. 77--I, 293; II, 91, 148, 154, 160, 161, 195. - - Laendler (Six)--I, 364, 365. (Also for Orchestra.) - - Contradances (Six)--I, 289, 364. (Also for Orchestra.) - - Marches, Three Grand, for four hands, in C, E-flat and D, - Op. 45--I, 350, 356; II, 40. - - Minuet in E-flat--II, 56. - - Polonaise in C, Op. 89--II, 152, 305, 328. - - Preludes (Two) through all the Major Keys, for Pianoforte or - Organ, Op. 39--I, 138, 371; II, 20. - - Prelude in F minor--I, 138; II, 55. - - Rondos (Two) in C and G, Op. 51--I, 202, 244, 275, 277, 322, 364; - dedicated, 370. - - Rondo Allegretto--I, 75. - - Rondo a Capriccio ("Die Wuth ueber den verlornen Groschen"), - Op. 129--III, 143, 246. - - Rondo in C (Youthful, anonymous)--I, 72, 140. - - Variations (Six) on an Original Theme, Op. 34--I, 314, 364, 365, 370; - dedication, 368; II, 20. - - Variations (Fifteen) with a Fugue, on a Theme from "Prometheus," - Op. 35--I, 364, 365, 368, 369, 370; II, 20. - - Variations in D, on a Theme used afterwards in "The Ruins of Athens," - Op. 76--II, 148, 160, 161, 195. - - Variations (Thirty-three) on a Waltz by Diabelli, Op. 120--III, 107, - 108, 127 _et seq._; 147. - - Variations on a Theme by Count Waldstein, in C, for four hands--I, - 139, 176, 183, 184. - - Variations (Nine) on a March by Dressler, in C minor--I, 69, 70, 72. - - Variations (Twenty-four) on "Venni amore," in D--I, 7, 114, 117, 138. - - Variations (Thirteen) on "Es war einmal," by Dittersdorf--I, 139, 176, - 183, 184. - - Variations (Nine) on "Quant e piu bello," by Paisiello, in A--I, 187. - - Variations on "Nel cor piu non mi sento," by Paisiello--I, 187, 192. - - Variations on the "Minuet a la Vigano"--I, 188, 192. - - Variations (Twelve) on a Russian Dance from "Das Waldmaedchen"--I, - 200, 209, 244. - - Variations (Six easy) on a Swiss Air, for Harpsichord or Harp--I, 227. - - Variations on "Une fievre brulante," by Gretry--I, 226, 227, 305. - - Variations (Ten) on "La Stessa, la stessissima," by Salieri--I, 227, - 244, 275. - - Variations (Eight) on "Taendeln und Scherzen," by Suessmayer--I, 227. - - Variations (Nine) on "Kind, willst Du?" by Winter--I, 227, 275. - - Variations (Seven) on "God save the King"--I, 140, 305, 370; II, 40. - - Variations on "Rule Britannia"--I, 370; II, 40. - - Variations (Thirty-two) in C minor--II, 76, 113, 117. - - Variations for four hands on "Ich denke Dein"--II, 55. - - Variations on a Theme from "Le Nozze disturbate." (See "MINUET - A LA VIGANO.") - - Variations on "Ich denke Dein"--I, 277, 279, 335, 362; II, 55, - 147, 148. - - Variations, tres faciles, in G--I, 277, 279, 290. - - Waltz in D--III, 216. - - Waltzes (Twelve), also published for Strings and Wind--II. 113. - - Cadenza for Mozart's Concerto in D minor--I, 185. - - Movement for a Clock--I, 76. - - Two-part Organ Fugue in D--I, 71. - - Sketches for Sonata, four hands--III, 141. - - Sketches for a Concerto in D minor--II, 328. - - -(g) SONGS WITH PIANOFORTE ACCOMPANIMENT - - Abendlied--III, 50. - - Abschiedsgesang an Wiens Buerger--I, 199; II, 303. - - Adelaide, Op. 46--I, 143, 202, 203, 207, 230; II, 6, 306, - 338; III, 61. - - Als die Geliebte sich trennen wollte--II, 72, 162. - - Amante impaziente, L'--II, 160. - - Andenken--II, 160, 195. - - An die ferne Geliebte--II, 328, 343, 356, 357, 363; III, 32. - - An die Geliebte--II, 209, 284, 303. - - An die Hoffnung--II, 55, 306, 328, 338, 356; III, 20. - - An einen Saeugling--I, 75. - - An Minna--I, 132. - - Ariettes (Four) and a Duet, Italian, Op. 82--II, 160, 192, 209. - - Bardengeist, Der--II, 259, 260. - - Bitten--II, 20. - - Bluemchen Wunderhold, Das--I, 362. - - Bundeslied--III, 64. - - Che fa il mio bene (Buffa)--II, 209. - - Che fa il mio bene (Seria)--II, 209. - - Der Juengling in der Fremde--II, 147, 148, 160, 195. - - Die Trommel geruehret (See EGMONT.) - - Dimmi ben mio--II, 209. - - Ehre Gottes in der Natur, Die--II, 20. - - Ein grosses, deutsches Volk sind wir--I, 201. - - Einst wohnten (An den fernen Geliebten)--II, 148, 160, 195. - - Elegie auf den Tod eines Pudels--I, 132. - - Es war einmal ein Koenig--II, 195, 363. - - Feuerfarb--I, 132, 134, 137. - - Freudvoll und leidvoll. (See EGMONT.) - - Gedenke mein--II, 160, 195. - - Gegenliebe--I, 203; II, 133. - - Geheimniss, Das--II, 72, 328, 356; III, 50. - - Gellert: Six Sacred Songs--"Bitten," "Die Liebe des Naechsten," - "Vom Tode," "Die Ehre Gottes in der Natur," "Gottes Macht - und Vorsehung" and "Busslied"--II, 20. - - Glueck der Freundschaft, Das--II, 20. - - Gottes Macht--II, 20. - - Gretel's Warnung--II, 160, 195. - - Herz, mein Herz--II, 191, 194, 195. - - Horch, wie schallt's ("Der Wachtelschlag")--I, 370; II, 40. - - Ich denke Dein--I, 275, 277, 279, 335; II, 55, 147, 148. - - Ich, der mit flatterndem Sinn--I, 132. - - Ich liebe dich--II, 20. - - In questa tomba--II, 111, 113, 134. - - Irish Songs (for Thomson, with obbligato instruments)--II, - 70, 157, 162, 194, 238, 259, 260, 303. - - Kennst du das Land--II, 186, 191, 194, 195. - - Klage, Die--I, 132; II, 160. - - Kleine Blumen--II, 210. - - Kriegers Abschied, Des--II, 303, 328. - - Kuss, Der--I, 275; III, 64, 87. - - La Partenza--II, 20. - - Liebe des Naechsten, Die--II, 20. - - Liebende, Der--II, 148, 160, 195. - - Lied aus der Ferne--II, 147, 148, 160, 195. - - Lisch aus, mein Licht--II, 388, 416; III, 50. - - Lydiens Untreue--II, 72. - - Mailied--I, 204. - - Mann von Wort, Der--II, 356, 357. - - Man strebt die Flamme--I, 133. - - Merkenstein--II, 303, 310, 357; III, 61. - - Mit einem gemalten Bande--II, 194. - - Mit Liebesblick--II, 160, 195. - - Mit Maedchen sich vertragen--I, 132; III, 58. - - National Songs--II, 17. (See "Irish," "Scottish" and "Welsh.") - - No, non turbate (Scena and air)--I, 364. - - Nord oder Sued--II, 386, 388, 389; III, 50. - - O care selve--I, 204. - - Odi l'Aura (Duet)--II, 160, 209. - - Opferlied--I, 203, 275, 364; III, 64, 140, 141, 189, 202. - (See WORKS FOR CHORUS AND ORCHESTRA.) - - O, welch' ein Leben--I, 204. (See also "Die schoene Schusterin," - under CHORAL WORKS.) - - Plaisir d'aimer--I, 228. - - Pruefung des Kuessens--I, 131. - - Punschlied--I, 133. - - Que le temps (jour) me dure--I, 228. - - Ruf vom Berge--II, 356, 389. - - Schilderung eines Maedchens--I, 72. - - Scottish Songs (Twelve)--II, 328, 416. - - Scottish Songs (Twenty-five)--II, 17, 69, 190, 203, 218, - 219, 259, 260; III, 50. - - Sehnsucht--II, 132, 133, 194, 195, 357. - - Seufzer eines Ungeliebten--I, 202, 203, 207. - - Six Songs, Op. 75--II, 192, 195. - - "Soll ein Schuh nicht druecken" (from "Die schoene Schusterin")--I, - 204, 224. - - Three Songs, Op. 83--II, 192, 199. - - T'intendo--II, 209. - - Trinklied ("Erhebt das Glas")--I, 132, 199. - - Trinklied ("Lasst das Herz uns froh erheben")--I, 199. (See - "Abschiedsgesang.") - - Trocknet nicht--II, 186, 194, 210. - - Turteltaube--I, 204. - - Urian's Reise--I, 88, 132. - - Wachtelschlag, Der--I, 370; II, 40. - - Was ist des Maurers Ziel--I, 133. - - Was zieht mir--II, 210. - - Welsh Songs (with obbligato instruments)--II, 70, 157, 238, 389. - - Wer ist ein freier Mann--I, 133, 204. - - Zufriedene, Der--II, 148, 160, 195. - - Zwar schuf das Glueck--II, 148, 160, 195. - - Sketches for uncompleted songs: "Erlkoenig"--III, 86; - "Haidenroeslein"--II, 415; - "Meine Lebenszeit verstreicht"--I, 275. - - - * * * * * - - -Transcriber's Note - -Page headers in the original text have been moved above the paragraph -to which they relate. - -The index was printed with many punctuation errors in the index. Some -have been corrected without further note, but remaining inconsistencies -include the use of B. and B as abbreviations, reference to Volume -numbers as I or Vol. I, and use of a semi-colon or a comma after _et -seq._ Many page numbers in the index were printed out of numerical -order. - -The following apparent errors have also been changed: - -p. 17 "fouud" changed to "found" - -p. 20 (note) "aristically" changed to "artistically" - -p. 20 "A[rch-]D[uke]." changed to "A[rch-]D[uke]."" - -p. 42 "the the greatest" changed to "the greatest" - -p. 49 (note) ""Zweit. Beeth.", pp. 467" changed to ""Zweit. Beeth.," -pp. 467" - -p. 60 "expecially" changed to "especially" - -p. 76 "all right." changed to "all right."" - -p. 83 "to to Hensler" changed to "to Hensler" - -p. 89 "cermony" changed to "ceremony" - -p. 93 "disinteredness" changed to "disinterestedness" - -p. 94 "contempories" changed to "contemporaries" - -p. 99 "indentical" changed to "identical" - -p. 104 "almost O" changed to "almost 0" - -p. 128 "also fuming" changed to "was also fuming" - -p. 144 "1915" changed to "1815" - -p. 146 "Pianofortes Sonatas" changed to "Pianoforte Sonatas" - -p. 148 "final chorus" changed to "final chorus)" - -p. 150 "(nor this either" changed to "nor this either" - -p. 161 "vexations" changed to "vexatious" - -p. 196 "castrophe" changed to "catastrophe" - -p. 215 "_31eme Quatuor." changed to ""_31eme Quatuor." - -p. 219 "semblence" changed to "semblance" - -p. 222 "Leibquartett" changed to "Liebquartett" - -p. 224 "he, remarked" changed to "he remarked" - -p. 224 ""Must it be?" changed to ""Must it be?"" - -p. 227 "life, time" changed to "lifetime" - -p. 239 "Schwarzspanierhaus" changed to "Schwarzspanierhause" - -p. 252 "toward each," changed to "toward each" - -p. 252 "solicituous" changed to "solicitous" - -p. 259 "capable practioner" changed to "capable practitioner" - -p. 272 "Schwarzpanierhaus" changed to "Schwarzspanierhaus" - -p. 274 "has thought" changed to "has been thought" - -p. 294 "ensured" changed to "ensued" - -p. 304 "but Beetthoven" changed to "but Beethoven" - -p. 305 (note) "farce is done.'" changed to "farce is done.'"" - -p. 309 "Beethovens death" changed to "Beethoven's death" - -p. 310 "preserved." changed to "preserved."" - -p. 315 "'~Alfred the Great~"" changed to ""~Alfred the -Great~"" - -p. 316 "42," changed to "42." - -p. 316 "77 wants" changed to "77; wants" - -p. 316 "to, 218," changed to "to, 218." - -p. 317 "104; 190" changed to "104, 190" - -p. 317 "132; 134;" changed to "132, 134;" - -p. 317 "103; 191" changed to "103, 191" - -p. 317 "xi; 192" changed to "xi, 192" - -p. 320 "368; 362" changed to "368, 362" - -p. 320 "280 286" changed to "280, 286" - -p. 321 "176 Matthisson" changed to "176; Matthisson" - -p. 321 "344, Magdalena" changed to "344; Magdalena" - -p. 321 "Rovantini I, 64" changed to "Rovantini, I, 64" - -p. 322 "_et seq._; 364;" changed to "_et seq._, 364;" - -p. 322 "37; 118" changed to "37, 118" - -p. 323 "200; 219" changed to "200, 219" - -p. 324 ""Fidelio"; II" changed to ""Fidelio", II" - -p. 324 "_et seq._; 141." changed to "_et seq._, 141." - -p. 324 "3; 36;" changed to "3, 36;" - -p. 324 "asked by B to" changed to "asked by B. to" - -p. 324 "I, 1 _et seq._" changed to "I, 1 _et seq._;" - -p. 325 "Dedication; 88;" changed to "Dedication, 88;" - -p. 326 "Singer, III: 169." changed to "Singer: III, 169." - -p. 326 "court, I, 29," changed to "court: I, 29," - -p. 328 "Kuenstler~"" changed to "Kuenstler~" - -p. 328 "182, 202," changed to "182, 202." - -p. 328 "II, 80:" changed to "II, 80;" - -p. 329 "II, 127:" changed to "II, 127;" - -p. 329 "teacher, 152," changed to "teacher, 152;" - -p. 329 "284, 285," changed to "284, 285;" - -p. 329 "teacher, 11," changed to "teacher, 11;" - -p. 330 "Oratorio by by C. P. E. Bach" changed to "Oratorio by C. P. E. -Bach" - -p. 332 "La finta Giardiniera"" changed to ""La finta Giardiniera"" - -p. 334 "B's visit to 89, 90;" changed to "B's visit to, 89, 90;" - -p. 334 "Mihl, 31" changed to "Mihl, I, 31" - -p. 335 "I, 282," changed to "I, 282;" - -p. 336 "La buona Figluola." changed to "La buona Figluola," - -p. 336 "B. plays in." changed to "B. plays in," - -p. 337 "plays the the C minor" changed to "plays the C minor" - -p. 338 "Rzwuska" changed to "Rzewuska" - -p. 339 ""~Seidenen Schuhe," Die~" changed to ""~Seidenen Schuhe, -Die~"" - -p. 341 "III, 77, 78; III, 161," changed to "III, 77, 78, 161," - -p. 346 "Hoffmann, sei" changed to ""Hoffmann, sei" - - -The following possible errors have not been changed: - -p. 17 The gentleman has not eaten anything yet" - -p. 122 St. Wenzelaus - -p. 231 the necessity off proving - -p. 231 Yours sincerly - -p. 343 II, 113, 144; - - -The following are inconsistently used: - -absentmindedness and absent-mindedness - -deathbed and death-bed - -Haslinger and Hasslinger - -hellhound and hell-hound - -Lodoiska and Lodoiska - -notebook and note-book - -sickbed and sick-bed - -sketchbooks and sketch-books - -stagecoach and stage-coach - -Suessmayer and Suessmayr - -Theaterzeitung and Theater-Zeitung - -W.W. and W. 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