Chapter XVI: Part III: From 1824 Till Beethoven's Death in 1827 (5)

I leave entirely to your judgment to fix the terms for both works, to wit, the Quatuor and the Sonatas, the more the better.

Be so kind to write to me immediately for two reasons; 1st, that I may not be obliged to shrink up my shoulders when they ask me if I got letters from you; and 2dly, that I may know how you do, and if I am in favour with you. Answer me in English if you have to give me happy news, (for example, those of giving a concert to my benefit,) in French if they are bad ones.

Perhaps you find some lover of music to whom the Trio and the Sonata with violin, Mr. Ries had sold to Mr. Birchall, or the Symphony arranged for the pianoforte, might be dedicated, and from whom there might be expected a present. In expectation of your speedy answer, my dear friend and countryman, I am, yours truly,

LUDWIG VON BEETHOVEN.

10.

BEETHOVEN TO RIES.

Vienna, June 11, 1816.

My dear Ries,

I am sorry again to put you to the expense of postage; much as I like to serve and assist others, it always hurts me to draw upon them on my own account. The ten ducats are not forthcoming, which leads to the conclusion that in England, as well as here, there are people who promise, but do not perform.

I do not blame _you_ in this matter. Not having heard anything from Neate, I only beg you will ask him, whether he has disposed of the Quartett in _F minor_. I am almost ashamed to speak of all the other works intrusted to him, ashamed to own to myself that I have given them to him with that unbounded confidence which knows of no other conditions, than those which his care and friendship would suggest for my benefit.

I have had the translation of a notice in the Morning Chronicle on the performance of my Symphony (probably the one in A) given to me. It seems I shall fare with this work, and with all those which Neate has taken, as I did with my battle (of Vittoria). I shall read of their performance in the newspapers, and get nothing else by them.

Yours, &c.,

BEETHOVEN.

Mr. Neate had been intrusted by Beethoven with several MS. works, (the two Sonatas, Op. 102, for pianoforte and violoncello, and the pianoforte Trio in B flat, Op. 97,) to dispose of them to English publishers, but found great obstacles in so doing from the difficulty of the music and the unwillingness of some of the principal music-publishers to purchase works so little understood, by an author too who, at that time, was more noted for his eccentricities than for any of those noble attributes which in after days have procured for him the admiration of the age. The delays occasioned by these circumstances, as well as by others relating to Mr. Neate's private life, and finally the unsatisfactory results of his negotiations, led Beethoven to the suspicion that his interest had been neglected and his confidence betrayed. This induced Mr. Neate to write the following letter.

11.

MR. NEATE TO BEETHOVEN.

London, October 29, 1816.

My dear Beethoven,

Nothing has ever given me more pain than your letter to Sir George Smart.[183] I confess that I deserve your censure, that I am greatly in fault; but must say also that I think you have judged too hastily and too harshly of my conduct. The letter I sent you some time since, was written at a moment when I was in _such_ a state of mind and spirits that I am sure, had you seen me or known my sufferings, you would have excused every unsatisfactory passage in it. Thank God! it is now all over, and I was just on the point of writing to you, when Sir George Smart called with your letter. I do not know how to begin an answer to it; I have never been called upon to justify myself, because it is the first time that I ever stood accused of dishonour; and what makes it the more painful is "that I should stand accused by the man who, of all in the world, I most admire and esteem, and one also whom I have never ceased to think of, and wish for his welfare, since I made his acquaintance." But as the appearance of my conduct has been so unfavourable in your eyes, I must tell you again of the situation I was in, previous to my marriage. *

* * * *

* * I remain in my profession, and with no abatement of my love of Beethoven! During this period I could not myself do anything publicly, consequently all your music remained in my drawer unseen and unheard. I however did make a very considerable attempt with the Philharmonic, to acquire for you what I thought you fully entitled to. I offered all your music to them upon condition that they made you a very handsome present; this they said they could not afford, but proposed to see and hear your music, and then offer a price for it; I objected and replied "that I should be ashamed that your music should be put up by auction and bid for!--that your name and reputation were too dear to me;" and I quitted the meeting with a determination to give a concert and take all the trouble myself, rather than that your feelings should be wounded by the chance of their disapproval of your works. I was the more apprehensive of this, from the unfortunate circumstance of your Overtures not being well received; they said they had no more to hope for, from your other works. I was not a Director last season, but I am for the next, and then I shall have a voice which I shall take care to exert. I have offered your Sonatas to several publishers, but they thought them too difficult, and said they would not be saleable, and consequently made offers such as I could not accept, but when I shall have played them to a few professors, their reputation will naturally be increased by their merits, and I hope to have better offers. The Symphony you read of in the 'Morning Chronicle' I believe to be the one in C minor; it certainly was not the one in A, for it has not been played at a concert. I shall insist upon its being played next season, and most probably the first night. I am exceedingly glad that you have chosen Sir George Smart to make your complaints of me to, as he is a man of honour, and very much your friend; had it been to any one else, your complaint might have been listened to, and I injured all the rest of my life. But I trust I am too respectable to be thought unfavourably of, by those who know me. I am, however, quite willing to give up every sheet I have of yours, if you again desire it. Sir George will write by the next post, and will confirm this. I am sorry you say that I did not even _acknowledge_ my obligation to you, because I talked of nothing else at Vienna, as every one there who knows me can testify. I even offered my purse, which you generously always declined. Pray, my dear friend, believe me to remain,

Ever yours, most sincerely,

C. NEATE.

In reply to the above, Mr. Neate received the following letter from Mr. Häring, a private gentleman and distinguished amateur on the violin, who used to keep up a friendly intercourse with Beethoven at Vienna:--

12.

MR. HARING TO MR. C. NEATE,

(At Beethoven's dictation.)

Vienna, 18th December, 1816.

1055, Seiler-Staette, third story.

My dear Sir,

Both letters to Mr. Beethoven and to me arrived. I shall first answer his, as he has made out some memorandums, and would have written himself, if he was not prevented by a rheumatic feverish cold. He says: "What can I answer to your warmfelt excuses? Past ills must be forgotten, and I wish you heartily joy that you have safely reached the long-wished-for port of love. Not having heard of you, I could not delay any longer the publication of the Symphony in A which appeared here some few weeks ago. It certainly may last some weeks longer before a copy of this publication appears in London, but unless it is soon performed at the Philharmonic, and something is done for me afterwards by way of benefit, I don't see in what manner I am to reap any good. The loss of your interest last season with the Philharmonic, when all my works in your hands were unpublished, has done me great harm; but it could not be helped, and at this moment I know not what to say. Your intentions are good, and it is to be hoped that my little fame may yet help. With respect to the two Sonatas, Op. 102, for piano-forte and violoncello, I wish to see them sold very soon, as I have several offers for them in Germany, which depend entirely upon me to accept; but I should not wish, by publishing them here, to lose all and every advantage with them in England. I am satisfied with the ten guineas offered for the dedication of the Trio, and I beg you to hand the title immediately to Mr. Birchall, who is anxiously waiting for it; you'll please to use my name with him. I should be flattered to write some new works for the Philharmonic--I mean Symphonies, an Oratorio, or Cantatas,[184] &c. Mr. Birchall wrote as if he wished to purchase my 'Fidelio.' Please to treat with him, unless you have some plan with it for my benefit concert, which in general I leave to you and Sir George Smart, who will have the goodness to deliver this to you. The score of the Opera 'Fidelio' is not published in Germany or anywhere else. Try what can be done with Mr. Birchall, or as you think best. I was very sorry to hear that the three Overtures were not liked in London. I by no means reckon them amongst my best works, (which, however, I can boldly say of the Symphony in A), but still they were not disliked here and in Pesth, where people are not easily satisfied. Was there no fault in the execution? Was there no party-spirit?

"And now I shall close, with the best wishes for your welfare, and that you enjoy all possible felicity in your new situation of life.

"Your true friend,

"LOUIS VAN BEETHOVEN."

13.

BEETHOVEN TO RIES.

Vienna, July 9, 1817.

Dear Friend,

I feel much flattered by the honourable proposals you make me in your letter of the 9th of June: this comes to show you how I appreciate them, and, were it not for my unlucky affliction, and for the additional attendance this would make me require on a journey and in a strange country, I should _at once_ accept the proposal of the Philharmonic Society. Now place yourself in my situation, consider how many more difficulties I have to contend with than any other artist, and then judge whether my demands be unjust. I am going here to subjoin them, and beg you will communicate them to the Directors of the above-named Society.

1. I mean to be in London in the middle of January, 1818, at the latest.

2. The two grand new Symphonies are then to be ready, and are to remain the Society's exclusive property.

3. The Society to give me for them three hundred guineas, and allow me one hundred guineas for my travelling expenses, which will much exceed that sum, as I must necessarily take some one with me.

4. As I shall immediately begin the two Symphonies, if my proposals be accepted, the Society to send me at once a cheque of one hundred and fifty guineas, that I may provide a carriage and other necessaries for my journey without delay.

5. I accept the conditions relative to my non-appearance in any other public orchestra, to my non-conducting, to my giving the preference to the Philharmonic Society upon equal terms, and in fact, with my sense of honour, all this would have been understood, though not mentioned.

6. I may rely upon the assistance of the Society in one or more benefit concerts, as circumstances may permit. I feel sure of this, from the feelings of friendship of several of the Directors of this estimable body, as indeed from the kind interest which most of the professional men have shown for my works; this will be an additional spur to my endeavours to fulfil their expectations.

7. I also beg to have the above written out in English, signed by three Directors of the Society, and sent over to me.

You may easily imagine how I enjoy the thoughts of becoming acquainted with the worthy Sir George Smart, and of seeing you and Neate again. Would I could fly across to you instead of this letter!

Your sincere admirer and friend,

L. V. BEETHOVEN.

* * * * *

(P.S. in his own hand.)

Dear Ries,--I embrace you with all my heart. I have expressly made use of another hand for the above that you might read and lay it before the Society with more ease. I have full confidence in your feelings towards me, and hope the Philharmonic Society will accept my proposals; you may rest assured that I shall exert all my powers to fulfil, in the worthiest manner possible, the honourable call of so distinguished a body of musicians. How strong is your band? how many violins, &c. &c., with single or double wind instruments? Is the room large--does the music tell in it?

14.

BEETHOVEN TO RIES.

Vienna, March 5, 1818.

My dear Ries,

Much as I wished it, I could not possibly manage to get to London this year; I beg you will inform the Philharmonic Society that it was my weak state of health which prevented me. I have some hopes of being effectually cured this spring, and then I shall avail myself about autumn of the proposals made to me by the Society--fulfilling all their conditions.

Will you ask Neate in my name not to make a public use, at least, of such works of mine as he has got, until my arrival: whichever way matters may stand with him, he has given me cause to complain.

Potter called on me several times; he seems to be a good creature, and has much talent for composition. I hope and wish that your circumstances may improve from day to day; I cannot say that mine do. * * * * * I cannot bear to see want--I must give; so you may fancy how much more I suffer in this matter. Pray let me hear from you soon. If possible, I shall decamp sooner, to escape my utter ruin, and shall be in London towards the end of winter at the latest. I know you will assist a distressed friend; had it been in my power, and had I not ever been fettered by circumstances, surely I should have done much more for you. Fare you well! remember me to Neate, Smart, Cramer--although I understand that the latter moves in contrary motion to you and me. Never mind; I hope I somewhat understand the art of managing such matters, and producing a pleasing harmony at our meeting in London. I embrace you with all my heart.

Your friend,

LUDWIG VAN BEETHOVEN.

My kind regards to your dear, and, as I understand, beautiful wife.

15.

BEETHOVEN TO RIES.

Vienna, April 30, 1819.

My dear Ries,

I could not ere this answer your last letter of the 18th of December. Your sympathy does me good. It is impossible to get to London for the present, entangled as I am in various ways; but God will assist my plans of reaching it certainly next winter, when I shall bring the new Symphonies. I am in expectation of the text for an Oratorio which I am to write for our Musical Society, and which may likewise serve us in London. Do for me what you can, for I stand in need of it. I should gladly have accepted any orders for the Philharmonic Society; Neate's reports, however, of the all but failure of the three Overtures have vexed me; they have not only been successful here, each in its own way, but those in E flat and C have even produced a powerful effect; so that the fate of these compositions in the Philharmonic Society is a riddle to me. You will have received the arrangement of the Quintetto and the Sonata. Pray let them both be engraved immediately, especially the Quintetto. The Sonata may follow a little more at leisure, but that too not later than two or three months hence. I had not received your former letter which you mention, and therefore did not scruple to strike a bargain for both these works in this place too--that is to say, only for Germany. It will be three months before the Sonata comes out here, but you must hurry with the Quintett. As soon as you send me a cheque for the money I shall let you have an agreement for the publisher, securing him the property of these works for England, Scotland, Ireland, France, &c.

The _Tempi_ of the Sonata, according to Maelzel's Metronome, will reach you by the next post. The Quintett and Sonata are gone by De Smidt, courier to Prince Paul Esterhazy. I shall send my portrait by the earliest opportunity, as I understand that you really wish for it. Farewell! think kindly of your friend

BEETHOVEN.

_My_ best love to _your_ best love!!!

16.

Vienna, April 16, 1819.

Here, dear Ries! are the _Tempi_ of the Sonata (Op. 106). First Allegro, _Allegro_ alone, strike out the _assai_, and add

Maelzel's Metronome
[185] = 138
Second movement Scherzoso, M. M.
= 80
Third movement, M. M.
= 92

Observe that another bar should be prefixed to this movement, viz.:--

[A]

Fourth movement, _Introduzione largo_ M. M. = 76

Fifth and last movement, 3/4 time

[B]

Excuse the mistakes; if you knew my circumstances you would not be surprised at them, but would wonder at what I produce in spite of them. The Quintett cannot be delayed any longer, and will shortly appear; not so the Sonata, about which I anxiously expect to hear from you, inclosing the terms. The name of the courier, through whom you have to receive the Quintett and Sonata, is De Smidt. I beg to have a speedy answer, and shall soon write more at length.

In haste, yours,

BEETHOVEN.

17.

BEETHOVEN TO RIES.

Vienna, April 19, 1819.

Dear Friend,

Excuse the trouble which I am giving you. I cannot account for the numerous mistakes which have found their way into the copy of the Sonata, unless, indeed, they proceed from the circumstance of my not being able any longer to keep a copyist of my own; events have brought this about, and may the Lord help me until ... become better off. This will take another twelvemonth. It is most shocking how this matter has been brought about, and what has become of my salary, and no one can say what _may_ become of it, until the above-mentioned twelvemonth comes round. Should the Sonata (Op. 106) not do for London, I might send another, or you may leave out the Largo and begin with the Fugue of the last movement, or else the first movement, the Adagio, and for the third, the Scherzo and the Largo and Allegro risoluto. I leave it to you to manage this as you think proper.[186] This sonata was written in time of need; for it is hard to write almost for one's daily bread; thus far am I reduced. We must correspond further upon my visit to London. It would certainly be the only means of saving me from my miserable and needy condition, which ruins my health, and will never permit my faculties to act as they might under more favourable circumstances.

BEETHOVEN.

18.

BEETHOVEN TO RIES.

Vienna, May 25, 1819.

* * * I was all the while oppressed with such cares as I had never known, and all through my excessive benevolence to others. Write on industriously. My dear little Archduke Rudolph and I, we often play your works, and he says the former pupil does his master credit. Now fare you well. I content myself with embracing your wife--who, I understand is very handsome--in fancy only, for the present, but hope to have that pleasure in reality during next winter. Do not forget the Quintett, and the Sonata, and the money--I meant to say the _honoraire, avec ou sans honneur_. I trust to hear from you not only as fast as _allegro_, but _veloce prestissimo_, and good tidings too. This letter reaches you through a right clever Englishman; they are a powerful race for the most part, and I should like to spend some time amongst them in their own country.

Prestissimo--Responsio, il suo amico e maestro

BEETHOVEN.

19.

BEETHOVEN TO RIES.

Vienna, November 10, 1819.

Dear Ries,

I write to let you know that the Sonata is out, that is to say, only about a fortnight; and it is about six months since both were sent to you--the Quintett and the Sonata. I shall despatch in a few days through a courier who leaves this, the Quintett as well as the Sonata, so that you will be able to correct both works. Not having heard from you of the receipt of either, I thought the matter had fallen to the ground. Have I not been wrecked once before in this year through Neate? I wish you could try to get me the fifty ducats; I have reckoned upon receiving them, and, indeed, have many ways for my money. Enough for to-day, only let me tell you that I have almost concluded a new Mass; let me know what you could do with it in London; but that soon, very soon, and soon too let me have the money for both the works. I will write more fully another day. In haste, your true and sincere friend,

BEETHOVEN.

20.

BEETHOVEN TO RIES.

Vienna, April 6, 1822.

My dearest Ries,

I have been ill again for the last six months and more, and thus could never answer your letter. I have received the £26, and am sincerely obliged to you for them, but your Symphony dedicated to me has not arrived. My greatest work is a grand Mass, which I have lately written, &c. &c. Time presses to-day, so I say only the needful; what might the Philharmonic Society offer me for a Symphony?

I will think of coming to London, if my health would but permit it--perhaps next spring! You would find in me a master who truly appreciates the pupil, in his turn become a great master, and who knows how, and in what way, the art might be benefited from our acting jointly. I am as ever completely devoted to my muses, and this alone can ensure me happiness. I act for others, too, as best I may. You have two children--I have one (my brother's son)--but you are married, consequently your two cannot be as expensive as my one.

Now, farewell; kiss your fair lady, until I may perform this solemn act in person.

Your sincere friend,

BEETHOVEN.

P.S. Be quick in letting me have your dedication, that I may show off in return, which I mean to do as soon as I have received yours.

21.

BEETHOVEN TO RIES.

Vienna, December 20, 1822.

My dear Ries,

I have had so much business on hand, that I could not send you a reply to your letter of the 15th of November. I gladly accept the request of the Philharmonic Society to write a new Symphony for them; although the terms offered are not what they ought to be, and what the English might afford, in comparison to other nations.

If I _could_ but get to London, what would I not write for the Philharmonic Society! for, Heaven be praised, Beethoven _can_ write, although he can do nothing else. If it please God to restore my health, which is somewhat improved, I may yet avail myself of the several proposals made to me from the different parts of Europe, and even from North America, and thus might I once more be put in a flourishing state.

Yours, &c.,

BEETHOVEN.

22.

BEETHOVEN TO RIES.

[Extract of a letter, the beginning of which is nowhere to be found.]

* * * Do get matters speedily arranged for your poor friend; I expect your travelling plan too;[187] I can bear up no longer; I am in for it, deeper than ever; should I not go, look you, there is a _crimen læsæ_! Since you seem to wish for a dedication of mine, I am quite ready to gratify you; much more ready than I should be for any great man--for the greatest, _entre nous_.

The d----l knows where one might fall into their hands. You will receive the new Symphony (the ninth with choral parts) with the dedication to yourself. I hope at length to get possession of yours to me. "B" is to open the letter to the king (George the Fourth) he took charge of, and he will see what has been written to the king about the Battle of Vittoria; the enclosed letter to him[188] contains the same; but there is no longer a question about the Mass. Let our amiable friend B. try and get me at least a battle-axe or a turtle; the printed copy of the score of the Battle is, of course, also to be given to the King. This letter puts you to great expence,[189] pray deduct it from what you have to send me; how much I regret being so troublesome to you! The Lord be with you. Best love to your wife, until I come myself. Have a care; you think I am old; I am an old youngster.

Ever yours,

BEETHOVEN.

23.

BEETHOVEN TO MR. NEATE.

Vienna, February 25, 1823.

My dear friend,

Ries tells me you wish to have three Quartetts of me, and I now write, to beg you will let me know about what time they are to be ready, as I am fully satisfied with your offer of a hundred guineas for them; only let me beg of you, to send me a cheque for that sum, upon one of our banking-houses, so soon as I shall let you know that the Quartetts are finished, and I will, in my turn, deliver them to the same banker upon the receipt of the hundred guineas. I trust you are enjoying to the full the blessings of a family life; would I could have the pleasure of becoming an eye-witness to your happiness! I have sent Ries a new Overture for the Philharmonic Society, and am only waiting the arrival of a cheque for the new Symphony, to forward him that too, through our Austrian embassy. You will find in the bearer, Mr. A. Bauer, a man equally intelligent and amiable, who can give you a full account of my doings. Should my health improve,[190] I mean to visit England in 1824; let me know what you think about it. I should be delighted to write for the Philharmonic Society, to see the country and all its distinguished artists; and as to my pecuniary circumstances, they too might be materially benefited by this visit, as I feel that I shall _never_ make anything in Germany. My name on the address of letters is sufficient security for their reaching me. With every kind wish for your welfare, believe me

Your sincere friend,

BEETHOVEN.

24.

BEETHOVEN TO RIES.

Vienna, April 25, 1823.

Dear Ries,

The cardinal (Archduke Rudolph) has been staying here for a whole month; and as I had to give him two hours and a half's lesson per day, I was robbed of much time, besides feeling, the day after such lessons, scarcely able to think, much less to write.

My distressed circumstances, however, require that I should instantly write that which will procure money, sufficient for the moment. What a sad discovery this must be to you! And, moreover, all my troubles have caused me to be unwell--have given me sore eyes. But do not be alarmed; you will shortly receive the Symphony. Indeed it is all brought on by these miserable circumstances. You will also receive, a few weeks hence, thirty-three new Variations on a subject (a Valse Op. 120) dedicated to your wife. Bauer (first secretary to the Austrian embassy) has the score of the "Battle of Vittoria," which was dedicated to the then Prince Regent, and for which I have still to receive the copying expenses. Now I beg of you, dear friend, to send me, as soon as possible, a draught for the amount of whatever you may be able to get me for it. You and I know the publishers well.

With regard to your tender conjugal point, you will always find me in direct opposition to yourself, and decidedly taking the lady's part.

Ever your friend,

BEETHOVEN.

25.

BEETHOVEN TO RIES.

Hetzendorf, near Vienna, July 16, 1823.

My dear Ries,

The receipt of your letter, the day before yesterday, gave me great pleasure. I suppose you have got the Variations by this time. I could not write the dedication to your wife, as I do not know her name. Pray make it in the name of your own and your wife's friend, and let her be surprised with it, on its coming out. The fair sex is fond of that sort of thing. Between ourselves, the great charm of the _beautiful_ lies in its coming upon us unawares.

With regard to the Allegri di Bravura, I shall pardon yours. To say the truth, I am no friend to that species of writing, calculated to promote mechanism all too much, in those at least which I know. I have not looked at your's yet, but shall inquire for them at ----, with whom I beg you will not communicate without great prudence. Might I not be your agent here for many things?

These publishers are certainly acting up to their name by _publishing_ your works; but you get nothing by such publicity, which is only a _reprint_. Matters might perhaps be differently managed. I shall certainly send you a few chorusses; and, if required, produce a few new ones. They are quite my hobby.

Many thanks for the produce of the _Bagatelles_. I am quite content with it. Do not give anything to the King of England. Take whatever you can get for the Variations: I shall be satisfied anyhow. But one thing I must stipulate, that I shall positively take no other reward for the dedication to your wife than a kiss to be received by me in London. You sometimes write guineas, whereas I receive but pounds sterling, and I understand there is a difference.[191] Do not be angry at this, with a _pauvre musicien autrichien_; but indeed my situation is a difficult one. I am likewise writing a new violin Quartett. Might that too be offered to the musical or unmusical London Jews?--_en vrai juif_. With the sincerest embrace,

Your old friend,

BEETHOVEN.

26.

BEETHOVEN TO RIES.

Vienna, Sept. 5, 1823.

My dear good Ries,

I still continue without news of the Symphony, yet you may depend upon it ... will soon reach London. Were I not so poor as to be obliged to live by my pen, I should not take anything of the Philharmonic Society. As it is, I must certainly wait until my terms for the Symphony be made payable here. Wishing, however, to prove my confidence and affection for this Society, I have already sent off the new Overture. I leave it to the Society to settle for it at its own rate. My worthy brother (Johann), who keeps his carriage, thought fit to draw upon me too; and has consequently offered this same Overture, unknown to me, to a London publisher, Boosey. Pray tell him, my brother was mistaken with regard to the Overture. He bought it of me to carry on usury with it, as I perceive.--_O frater!_ As yet I have not seen anything of your Symphony dedicated to me. Did I not consider this dedication as a kind of challenge, demanding satisfaction on my side, I should by this time have inscribed some work to you. As it is, I thought I ought by rights to see your work first; and how I wish I could in any way show you my gratitude! I am deep in your debt for so many proofs of attachment and active kindness.

Should my health improve by a proposed course of bathing, I shall embrace your wife in 1824 in London.

Ever yours,

BEETHOVEN.

[The following three letters are given as originally written in
French, not in Beethoven's own hand, but signed by himself:]--

27.

BEETHOVEN À MONSIEUR C. NEATE.

Vienne, le 15 Janvier, 1825.

Ce fut avec le plus grand plaisir que je reçus votre lettre du ... par laquelle vous avez eu la bonté de m'avertir que la Société Philharmonique distinguée d'artistes m'invite à venir à Londres. Je suis bien content des conditions que me fait la Société, seulement je désire de lui proposer de m'envoyer, outre les 300 guinées qu'elle me promet, encore 100 guinées pour faire les dépenses du voyage; car il faudra acheter une voiture; aussi dois-je être accompagné de quelqu'un. Vous voyez bien que cela est nécessaire; d'ailleurs je vous prie de m'indiquer l'auberge où je pourrai descendre à Londres.

Je prendrai un nouveau Quatuor avec moi. Quant au bruit dont vous m'écrivez, qu'il existe un exemplaire de la 9^{ème} Symphonie à Paris, il n'est point fondé. Il est vrai que cette Symphonie sera publiée en Allemagne, mais point avant que l'an soit écoulé, pendant lequel la Société en jouira.

Sur ce point il faut encore vous avertir de ne faire que de petites preuves de cette composition, en Quatuor par exemple, car c'est la seule manière d'étudier bien une belle oeuvre; les choeurs, avant tout, doivent être exercés. Il y a encore quelques erreurs, dont je vous enverrai le catalogue par la poste prochaine.

Il me semble avoir été oublié dans la 2de partie de la Symphonie, qu'à la répétition du minor après le Presto il faut commencer de nouveau du signe et continuer sans répétition jusqu'à la Ferma, alors on prend aussitôt la Coda.

Je vous prie de me répondre au plus vite possible, car on demande de moi une grande composition nouvelle, que je ne commençerai cependant pas, sans avoir votre réponse. Il faut que j'écrive toujours, pas pour me faire des richesses,--seulement pour pourvoir à mes besoins.

Or je dois avoir de la certitude sur ce point.--Je serai bien charmé de vous voir, et de connoitre la noble nation Anglaise.

Je suis, avec la plus haute consideration,

Monsieur,

Votre sincere ami,

LOUIS VAN BEETHOVEN.

28.

BEETHOVEN À MONSIEUR NEATE.

Vienne, le 19 Mars, 1825.

Mon très cher ami!

Je ne pourrai guère venir à Londres durant le printemps, mais qui sait quel accident m'y conduit peut-être en automne. J'espére que vous vous trouvez bien dans votre famille, et en bonne santé. Quant aux Quatuors, dont vous m'écrivez dans vos lettres, j'en ai achevé le premier, et je suis à présent à composer le second, qui, comme le troisiéme, sera achevé dans peu de temps. Vous m'offrez 100 guinées pour 3 Quatuors, je trouve cette proposition bien généreuse. Il se demande seulement, s'il m'est permis de publier ces Quatuors après un an et demie, ou deux ans.[192] C'est ce qui serait tres avantageux pour mes finances. En ce qui concerne la manière de simplifier l'envoiement des Quatuors, et de l'argent de votre part, je vous propose de remettre les oeuvres à Messrs. Fries & Co., qui témoigneront à vous même, ou à quelque banquier de Londres, d'être possesseurs des Quatuors, et qui vous les remettront aussitôt après l'arrivée de l'argent.

Voici une affaire, par laquelle vous pouvez me prouver votre amitié. Je vous prie seulement de me répondre au plus-tôt possible. Je me fie toujours à votre amitié pour moi, et vous assure que vous pouvez faire de même à moi.

Je suis, avec la plus grande consideration,

Votre ami,

BEETHOVEN.

29.

BEETHOVEN À MONSIEUR NEATE.

Vienne, le 25 May, 1825.

Mon ami!

Je crois nécessaire de vous écrire encore une fois. Je vois dans la lettre que vous m'avez écrite il y a deux ans, que l'honoraire des Quatuors est £100 sterling. Je suis content de cette offre, mais il est nécessaire de vous avertir, que le 1er Quatuor est si cherché par les plus célèbres artistes de Vienne, que je l'ai accordé à quelques uns d'eux pour leur benefice. Je crois tromper votre amitié en ne vous avertissant point de cette circonstance, parceque vous pouvez aussi en faire usage à Londres. Or si vous me repondez que vous êtes content des propositions que je vous ai faites dans ma lettre dernière, je vous enverrai aussitôt le 1er Quatuor; cependant je vous prie d'accélerer votre resolution, puisque les éditeurs desirent vivement de le posseder. Cependant vous n'avez point de remettre l'honoraire qu'après avoir reçu l'assurance de ma part, que les 2 autres Quatuors sont achevés. Seulement je vous prie d'ajouter à votre lettre l'assurance de votre contentement en ce qui concerne mes offres. Voilà ce que j'ai cru devoir vous dire. Je crois vous avoir fait une complaisance, et je suis certain que vous ferez le même envers moi. Conservez votre amitié pour moi.

Je suis, avec le plus grand estime,

Votre ami sincère,

LOUIS VAN BEETHOVEN.

30.

BEETHOVEN TO RIES AT BONN.

Vienna, April 9, 1825.

Dear worthy Ries,

The needful in all haste! In the score of the Symphony which I sent you (it is the ninth with choruses), there stands, as far as I remember, in the first oboe in the 242nd bar,--

It should be thus:

instead of

I have looked over the whole of the parts, with the exception of the brass band--that only in part--and I trust they must be tolerably correct. I would willingly have sent you the score,[193] but I have a concert before me, and the only score I possess is my manuscript. The concert, however, depends upon my health; for I must soon set off to the country, where alone I can prosper at this time.

You will soon receive the _Opferlied_, copied a second time; and I beg you will mark it as corrected by myself, that it might not be used together with the one you have already by you. This song gives you an idea of the miserable copyist I have had ever since _Schlemmer's_ death. There is scarcely a note in which I can trust him. As you have already had all the written parts of the finale of the Symphony, I have now sent you the second choral parts. You can easily have these scored from before the beginning of the chorus; and at the commencement of the vocal, it will be quite easy to have the instrumental parts prefixed to the second vocal ones: it will require a little reflection. It was impossible to write all this at once; and, had we hurried such a copyist, there would have been errors upon errors. I have sent you an Overture in C, 6/8 time, not yet published: the printed parts, too, you will receive by the next post. The _Kyrie_ and _Gloria_ (two of the principal pieces of the _Messe Solemnelle_), in D major, are likewise on their way to you, together with an Italian vocal Duet. You will receive, besides these, a grand March with chorusses, well fitted for grand musical performances.[194] Another grand, and as yet unknown, Overture might come forth, but I fancy you have enough of these.

Farewell, in the land of the Rhine, ever dear to me.[195] Every enjoyment of life attend you and your wife. The most friendly remembrances to your father.

From your friend,

BEETHOVEN.

No. III.

ACCOUNT OF A CONCERT GIVEN BY BEETHOVEN AT THE KAERNTHNERTHOR THEATRE, VIENNA.[196]

* * * * *

On the 7th of May, 1824, a grand musical performance took place at the Kärnthnerthor Theatre. The leaders of the music were Kapellmeister Umlauf and M. Shuppanzigh, and the great composer himself assisted on the occasion. He took his place at the side of the principal leader, and, with his original score before him, indicated the different movements and determined the precise manner in which they were to be given; for, unfortunately, the state of his hearing prevented him from doing more. The theatre was crowded to excess, and the sensation caused by the appearance of this great man was of a kind that is more easy to imagine than to describe. The arrangement of the pieces performed was as follows:--1st, Beethoven's Grand Overture in C major; 2nd, Three Grand Hymns, with solo and chorus parts, from his New Mass, never before performed; 3rd, a Grand New Symphony, with a finale, in which are introduced a solo and chorus part from Schiller's _Lied an die Freude_ (Song of Joy). This also was performed for the first time, and is Beethoven's last composition. We shall offer a few observations on each of these in the order of their performance.

With respect to the Overture, it indisputably belongs to the most finished of his compositions. The introductory _Andante_ is throughout of the most simple, noble, and masterly kind, and the rather lengthened _Allegro_ that follows is full of brilliant fancy: it is in the free fugue style, in three parts, each of which is sustained with equal power and effect. It is never monotonous, its form is constantly varying without in any manner sacrificing unity of effect; without the smallest rest point, the interest is constantly kept up; it flows along in a stream of harmony always pure and limpid; but it certainly presents an arduous task to the performer. It is thus that Handel would have written, had he had at his disposal the rich orchestra of our times; and it is only a spirit congenial with that of the immortal author of the Messiah that could succeed in treading in the footsteps of this giant of the art. The Three Hymns are principal portions of the New Mass which Beethoven has lately composed. The first, which was the _Kyrie Eleison_, is in D major, a movement full of fire and deep religious feeling. The _Christe_ that followed is in triple time, and full of happy effects of counterpoint; the return to the first measure of the _Kyrie_ is managed in a masterly manner, and the whole terminates in harmonics of a very singular and touching character. But altogether the effect is not so much that of children supplicating a parent, which is the true intent of the words, in the place in which they stand, as the deep and mournful supplications of a people humbled in the dust.

The treatment of the _Credo_ that follows is in the highest degree original and uncommon. Both the principal key, B flat major, as well as the time, change perhaps too often, so that the ear is scarcely able to comprehend the suddenness of the effects intended to be produced. At the _consubstantialem patri_, a short but very powerful figure commences; the _incarnatus est_ is a movement of very pathetic effect, and the tender and touching passage, _passus et sepultus est_, with its well placed dissonances in the violin accompaniment, is not to be described. Well imagined and sustained, the strongly figured movement at the entrance of the contra-theme is somewhat quickened, but the first _moderato_ again returns. The Amen opens with a broad and richly ornamented passage; it swells into splendid effect, and terminates in a long dying fall. If it were permitted in a church composition to speak of effect in the same manner as in a secular production, it cannot be denied that this retarding kind of conclusion tends to weaken the powerful impression produced by the preceding bolder results; especially when no reasonable cause can be assigned for such a mode of conclusion, unless it be the determination of a composer to differ from all the rest of the world. Who does not feel himself inspired by those brilliant Fugues with which a Naumann, a Haydn, and a Mozart terminate their compositions of this kind, which seem as if on the wings of seraphs to waft the soul towards heaven? The character of the _Agnus Dei_, in B minor, is solemn and tender, and the introduction of four French horns tends to heighten the effect in an extraordinary degree. The _Dona_ in D major, 6/8 time, passes into an _Allegretto_ movement of feeling, and advances in beautiful imitations, till suddenly the passage changes, and the kettle-drums, like distant thunder, intone the deep _pacem_.[197] A soprano solo introduces the second _Agnus Dei_ in a kind of recitative, and a chorus, strengthened by trumpets, precedes the tremendous _Miserere Nobis_. The effect of the latter is singular in the extreme, and when we reflect upon the sentiments intended to be expressed, we scarcely know whether to praise or blame.

With respect to the new Symphony it may, without fear, stand a competition with its eight sister works, by none of which is the fame of its beauty likely to be eclipsed; it is evidently of the same family, though its characteristic features are different--

facies non omnibus una
Non diversa tamen, qualem debet esse sororum.--OVID.

The opening passage is a bold _Allegro_ in D minor, full of rich invention, and of athletic power; from the first chord till the gradual unfolding of the colossal theme, expectation is constantly kept alive and never disappointed. To give a skeleton of this composition would be scarcely practicable, and, after all, would convey but a very faint idea of the body; we shall therefore only touch upon some of the more prominent features, among which is a _Scherzo_ movement (D minor) full of playful gaiety, and in which all the instruments seem to contend with each other in the whim and sportiveness of the passage; and a brilliant March in the vivid major mode, forms a delightful contrast with the passages by which it is introduced. Whoever has imagined in hearing the _Andante_ of the 7th Symphony, that nothing could ever equal, not to say surpass it, has but to hear the movement of the same kind in the present composition in order to change his sentiments. In truth, the movement is altogether divine, the interchanges and combinations of the motives are surprising, the tasteful conduct of the whole is easy and natural, and in the midst of the rich exuberance of the subject, the simplicity that prevails throughout is truly admirable. But it is in the Finale that the genius of this great master shines forth most conspicuously. We are here, in an ingenious manner, presented with a return of all the subjects in short and brilliant passages, and which, as in a mirror, reflect the features of the whole. After this a singular kind of recitative by the contra-basses introduces a _crescendo_ passage of overwhelming effect, which is answered by a chorus of voices that bursts unexpectedly in, and produces an entirely new and extraordinary result. The passages from Schiller's "Song of Joy" are made admirably expressive of the sentiments which the poet intended to convey, and are in perfect keeping with the tone and character of the whole of this wonderful composition. Critics have remarked of the Finale, that it requires to be heard frequently in order to be duly appreciated.

At the conclusion of the concert Beethoven was unanimously called forward. He modestly saluted the audience, and retired amidst the loudest expressions of enthusiasm. Yet the feeling of joy was tempered by a universal regret, to see so gifted an individual labouring under an infliction the most cruel that could befal an artist in that profession for which Nature had destined him. We have no doubt but the master will consider this as one of the proudest days in his existence; and it is to be hoped that the testimony of general feeling which he has witnessed will tend to soothe his spirit, to soften down some of its asperities, and to convince him that he stands upon a pinnacle far above the reach of envy and every malignant passion.

Both singers and instrumental performers acquitted themselves on this interesting occasion in a manner that is deserving of the highest praise. Of the worthy Kapellmeister Umlauf, who undertook the conduct of this great work, and M. Shuppanzigh, a master of known abilities, who led the band, it is but justice to say that their zeal, knowledge, and talents deservedly obtained them the most conspicuous place and the merited thanks of their brother artists. The impracticability of devoting sufficient time for the number of rehearsals that were necessary, in order to do justice to music which is at once new and of so lofty a character, made it impossible to give it with that precision, and those delicate shades of forte and piano, which are required to do them justice.

The deep and general feeling which this concert, in honour of the great master of the modern art in Germany, excited, together with the disappointment experienced by many who were unable to obtain admission, induced the Director of the Theatre to make an offer to the composer of a certain consideration if he would condescend once more to appear in public, and assist at a repetition of the same music. With this request he complied; and in addition to the pieces before performed, he offered them a manuscript Terzetto, with Italian words, which was accordingly performed, and considered by the numerous Italian amateurs in Vienna as a kind of compliment paid by the composer to themselves. The performance went off with still greater _éclat_ than on the former occasion, and this new composition was hailed by all with no less enthusiasm than the other works.

No. IV.

CHARACTERISTICS OF BEETHOVEN, FROM WEGELER AND RIES'S "NOTIZEN."

When Beethoven's reputation had attained the highest point at Vienna, his dislike to playing in society was so ungovernable that he used completely to lose his temper in consequence; and would often come to see me in the most melancholy mood, complaining that play he _must_, although he felt the blood tingling in his fingers. By degrees I used to draw him into a conversation of a more cheerful tendency, and always succeeded in ultimately pacifying him. This object attained I used to drop all discourse, sit down to my writing-desk, and thus oblige Beethoven to take the chair next to me, for the purpose of further conversation--that chair being the one used at the piano. The vicinity of the instrument soon led him to strike some chords at random, whence sprung the most beautiful melodies. Oh! why did I not more fully understand him! Wishing to possess a manuscript of his, I more than once put before him on the desk some music-paper, seemingly without intention; it was always filled, but when he had done this, he folded it and put it into his pocket, leaving me to laugh at my own miscalculation. He never permitted me to say much, if anything, about his playing on these occasions, and always went away an altered being, ready to come back to me. His antipathy to playing in company, however, remained unshaken, and was frequently the cause of the greatest quarrels between him and his friends and patrons.

* * * * *

Haydn had been anxious that Beethoven should write on the titles of his early works "_pupil of Haydn_;" to this Beethoven objected, saying, that although he had received some instructions from Haydn, yet _he had never learnt anything of him_. Beethoven during his first stay at Vienna had been Mozart's pupil for a short time, but used to complain of this great master never having played to him. Albrechtsberger gave him instructions in counterpoint, and Salieri in dramatic music. I was well acquainted with these three men; they all agreed in their regard for Beethoven, as well as in their opinion of his mode of learning. Each said Beethoven had always been so obstinate and self-willed, that his own hard earned experience often had to teach him those things the study of which he would not hear of; this was more especially affirmed by Albrechtsberger and Salieri. The dry rules of the former, and the less important ones of the latter on dramatic composition (in the old Italian school), would not excite any interest in Beethoven; we may therefore be allowed to doubt Seyfried's "incontrovertible evidence" as given in his Studies, that "Beethoven devoted his two years' _apprenticeship_ with Albrechtsberger with unremitting perseverance to his theoretical studies."

* * * * *