Chapter XIX: Part III: From 1824 Till Beethoven's Death in 1827 (8)

[41] The correspondence which passed between the composer and Madame Bettina von Arnim may be thought hardly to bear out M. Schindler's opinion of Beethoven's style of expression. The reader, however, will be enabled to judge for himself, as he will find in the Supplement No. III., Vol. I., a series of letters, from one of which the passage here cited by the biographer is extracted.--ED.

[42] There is a remarkable coincidence, not only of sentiment but of expression, between the above passage and one of the noblest songs of Burns, particularly the lines--

"A prince can make a belted knight,
A marquis, duke, and a' that,
But an honest man's aboon his might--."--ED.

[43] Beethoven here alludes to a small sum which he had to expect from abroad.

[44] I must claim for my friend Meyerbeer the place here assigned to Hummel, who had to act in the cannonade; and this I may the more firmly assert, as, the cymbals having been intrusted to me, Meyerbeer and I had to play from one and the same part.--ED.

[45] I witnessed the origin and progress of this work, and remember that not only did Maelzel decidedly induce Beethoven to write it, but even laid before him the whole design of it; himself wrote all the drum-marches and the trumpet-flourishes of the French and English armies; gave the composer some hints, how he should herald the English army by the tune of "Rule Britannia;" how he should introduce "Malbrook" in a dismal strain; how he should depict the horrors of the battle, and arrange "God save the King" with effects representing the hurrahs of a multitude. Even the unhappy idea of converting the melody of "God save the King" into a subject of a fugue in quick movement, emanates from Maelzel. All this I saw in sketches and score, brought by Beethoven to Maelzel's workshop, then the only suitable place of reception he was provided with.--ED.

[46] I am proud to say that I am four years in advance of my friend Schindler, having made Beethoven's much-desired acquaintance four years sooner--in 1810.--ED.

[47] This work may not, perhaps, rank equally high with some of Beethoven's most sublime productions; yet it speaks _his_ language, and has all the charms so peculiar to himself, particularly in the choral parts. It consists of--

No. 1. _Chorus._
2. _Recitativo_ and _Chorus_.
3. _Grand Scena_, Soprano, with Violin obligato and _Chorus_.
4. _Solo_, Soprano and _Chorus_.
5. _Recitativo_ and _Quartett_, two Soprani, Tenor, and Bass.
6. Chorus and Fugue.

The original score of this work, with copies of both texts, has been intrusted to me by M. Haslinger, of Vienna; and I am still in possession of it, in case a suitable opportunity for its performance should present itself.--ED.

[48] It was M. Carl Maria von Weber, who, after the failure{***} (see p. 164) of his Opera Euryanthe (1823), brought the score of that work, with the most profound humility, to Beethoven, requesting him to make what alterations he pleased in it, and promising to submit entirely to his opinion. Beethoven, well knowing what acrimonious reviews of some of his works M. von Weber had sent from Prague to German journals, received him in the most friendly manner; and, after looking over the score, said to him, in my presence, that he ought to have made this application _before_ the performance of his Opera, but that now he thought it too late, unless M. von Weber would undertake such a reform with it as he (Beethoven) did with his Fidelio.

It is interesting to see, for example, in the first version of the Opera Fidelio, how the master has composed several numbers twice and even four times. These casts, always of the same text, frequently differ very essentially from one another. Upon the whole, the first score of Fidelio, with the numerous variations, frequent improvements in the rhythm, in the instrumentation, and in the invention of the melody, affords a manifest truth of the extreme severity which the great master was accustomed to exercise in the correction of all his works; hence it would form an admirable study for young composers, and would deserve a place in a public library, where it would be accessible to everybody.

{***}It is with reluctance that I comment upon the word "failure" applied by M. Schindler to the "Euryanthe" of Weber, which was performed in November, 1823. But I was present at the first performance of this Opera, which the composer conducted, and the following pieces were _encored_:--The Overture--the 1st Tenor air sung by _Adolar_ (Haitzinger)--the Finale to the 1st Act, sung by _Euryanthe_ (Mlle. Sontag)--the principal pieces sung by Mad. Grünbaum (_Eglantine_) and Forti (_Lysiard_). The Huntsmen's, as well as several other Choruses, were most enthusiastically received, and the composer was called for at the end of the Opera, with every testimony of approbation. The evening was wound up by a convivial supper, given by a literary and artistical society called the Ludlam's Höhle, at which, together with Weber's pupil, M. Benedict, I had the pleasure of assisting, in conclusion of a triumphant success.

I do not, of course, intend to throw any doubt upon the circumstance here stated, of Weber having shown the score of Euryanthe to Beethoven, yet there seems to be some doubt as to Weber not having been on good terms with Beethoven, the more so when Rellstab's accounts are taken into consideration.

I make some extracts from the Memoirs of this much-esteemed writer and critic. He says (March 24th, 1825), "My journey to Vienna had been decided upon..... yet, of all the fair promises the imperial city held out to me, there was none so exciting or so spirit-stirring as the supreme felicity which I felt at the thoughts of becoming acquainted with Beethoven."....

Rellstab, on his way to Vienna, calls upon C. M. von Weber at Dresden, and, on asking him for a letter of introduction to Beethoven, receives the following reply:--"Beethoven does not like epistolary communication, and thinks it quite as irksome to read, as to write letters, but you may bring him all sorts of kind and respectful messages from me verbally; to judge from the kind reception he gave me during my last stay at Vienna, in 1823, I should suppose he would remember me with every feeling of sympathy and attachment." Weber then proceeded to give me an account of his last visit to Beethoven, to which, of course, I listened with the greatest eagerness. "We had been to him several times," said he, "without having once been able to see him; he was out of humour, and shunning all human society, yet we at length succeeded in finding the propitious moment; we were shown in, and beheld him sitting at his writing-table, from which he did not however rise at once to give us a friendly welcome. He had known me for several years, so that I could at once enter into conversation with him, but suddenly he started up, stood upright before me, and, putting his two hands on my shoulders, he shook me with a kind of rough cordiality, saying, 'You have always been a fine fellow!' and with this he embraced me in the kindest and most affectionate manner.

"Of all the marks of distinction then shown to me at Vienna, of all the praise and fame I there earned, nothing ever touched my heart as much as this fraternal kiss of Beethoven's."--ED.

[49] See Supplement No. II., Vol. II.

[50] But not "tacitly," as M. von Seyfried asserts at p. 12 of his Biographical Particulars. In Austria there is no such thing as a tacit adoption; every adoption requires a legal confirmation in order to be valid.

[51] This was Dr. Bach, senior court-advocate and sworn notary, who has for the third time been elected Dean of the Faculty of the Law in the University of Vienna.

[52] For this interesting document I am indebted to my esteemed friend Dr. Bach. In his letter of the 9th of June, 1839, when he sent it to me, he expresses this wish:--"Not a trait of that great soul ought to be lost, because it proves that with an inexhaustible genius a noble spirit may be combined." He will perceive how strictly and how faithfully I have endeavoured in this work to comply with his wishes and the express desire of our mutual friend.

[53] It was only three years before his death that Mozart obtained an allowance of 800 florins, which was paid out of the privy purse of the Emperor Joseph, whose favourite he moreover was. We see how nearly alike were the fortunes of those two great geniuses in this particular.

[54] This axiom, which may no doubt find numerous champions to defend it, is not one that I could subscribe to; and I hope the reader may not consider the selection of anecdotes from Seyfried, Ries, and Wegeler, which I have made in Supplement Nos. IV. & V., Vol. II., an unwelcome addition to M. Schindler's work.--ED.

[55] At the solicitation of M. Ries, I informed him, in 1833, of the cause of the evidently exaggerated complaints made in those letters: he ought of course to have felt the more scrupulous in publishing them.

[56] As these letters _have_ already met the public eye elsewhere, they could not here be withheld, and will be found in the Supplement No. I., Vol. II.--ED.

[57] The Saint's day, which, in Catholic countries, is celebrated like the birthday.--ED.

[58] By Aug. von Kotzebue.

[59] Johann van Beethoven had been an apothecary, and was originally supplied with the means of establishing himself by his brother Ludwig. Having amassed considerable wealth, he relinquished business, and became a landed proprietor.

[60] Beethoven made no offer to the Austrian court, but he did to Prince Esterhazy, who, however, declined it.

[61] Consequently not ten or twelve copies, which Beethoven is said to have sold in the way of subscription before the work was printed, as M. Seyfried erroneously states in his biographical particulars of him.

[62] It is evident from this how Beethoven felt and maintained his position in regard to the highest personages, and that he would not give up a single inch to them. This may serve, at the same time, to prove from what point of view he considered the world, and that in this particular he steadfastly adhered in practice to the immutable principle that dwelt within him (of which we have already treated in the first period), though by so doing he lost many material advantages.

[63] Beethoven, whom I saw frequently about this time, lent me the instrument in question to perform upon at a concert which I gave on the 15th of December, 1823, at the Kärnthner-Thor theater, Vienna; my object being to display the difference between the effects producible on Viennese, and on English instruments, by playing on one of the former in the first, and upon Beethoven's piano in the second act. The latter was internally and externally in so bad a state, owing to frequent removals and severe treatment on the part of its owner, that I should not have been able to avail myself of it, had not M. Graf, the Imperial piano-forte maker, been kind enough to put it into perfect order. For this concert Beethoven also lent me his then MS. Overture in C, Op. 115, and gave me directions with respect to its performance, that I might be able to impart his views to the players at the rehearsal. It may not be uninteresting to add, that the present owner of the piano-forte alluded to, is about to consign it to my care for the purpose of disposing of it.--ED.

[64] See Supplement, No. V., Vol. I.

[65] He merely saw two representations, one of which was the _Barber of Seville_, but without hearing a word of them. At his desire the score was sent to his lodgings, and after he had looked through it he made this curious remark:--"Rossini would have been a great composer if his master had oftener given him a sound flogging."

[66] I am so fortunate as to possess the original score of this work. Reminding Beethoven of the fate of the Kyrie in the grand Mass, and apprehensive that this score might also be used by his servants as waste paper for wrapping up boots and shoes, I asked him for it, and he gave it to me, attaching no higher value to such a gift than an ordinary sheet of paper. In the year 1823 his manuscripts fared precisely as they had done twenty years earlier, as M. Ries remarks (p. 113). All of them lay about in the utmost confusion, and any one that chose might take away what he pleased unmolested. May not this indifference towards the productions of his genius, the value of which, however, he well knew, be considered as the strongest proof that in his mind there was no trace of conceit, self-importance, or even egotism? In whom has the like ever been seen?

[67] Afterwards King of Saxony.

[68] The kind Archduke was needlessly concerned. When Beethoven was quite well, he went in general only with great reluctance to his illustrious patron and scholar; nay, he was ill in imagination whenever he heard that the Archduke was coming to town. He was accustomed to call the giving of lessons in this case "court-service," and what ideas he connected with that term it is easy to guess. On the other hand, his dislike to give systematic instruction made matters still worse. We discover in all this the very same "ill-tempered donkey," as at the time when he lived at Bonn. Then again the lessons of this Archduke required preparation on the part of the instructor, and also some regard to the toilet;{****} hence it was so hard a task for him to go to the Imperial palace, but one above which, in this case, he could not set himself.

{****} Any restraint experienced by Beethoven in his intercourse with the Archduke can only have originated in his own aversion to giving lessons. Nothing could be generally more urbane or less ceremonious in the matter of exactions as to toilet, than was this distinguished patron of music. I may be permitted, perhaps, to recall a personal instance of this: on waiting upon the Archduke for the purpose of presenting him with a copy of the Duet in E flat (Op. 47), which I had the honour of dedicating to him, I found him, to my surprise, in his ecclesiastical Cardinal's robes, in which I had never, till then, seen him. His usual affability of manner, however, remained unchanged. He took up the copy with eagerness, and, hardly allowing himself time to glance over it, said, "Let us try it." This was done as soon as said. I knew not whether most to admire the clever manner in which he played this composition at sight, or at the disparity of the persons engaged in its execution--not in rank only, but in costume; for it was impossible, as often as my eye glanced downwards towards the pedal, not to be struck by the sight of his red stockings side by side with my black ones.--ED.

[69] These letters are addressed to the Kappellmeister Hofmeister, who, under the firm of Hofmeister and Kühnel, Bureau de Musique, commenced the correspondence in the year 1800 with his friend Beethoven. That firm afterwards changed its designation, though retaining all its copyrights, to A. Kühnel Bureau de Musique: the business was next transferred, with the same proviso, to C. F. Peters, of whose heirs it was purchased by me in 1828, likewise with all the copyrights.--_C. G. S. Böhme._

[70] The German word _stechen_ signifies both to engrave and to sting: hence arises in the original a pun which cannot possibly be conveyed in the translation.

[71] A ducat is about ten shillings English money.--ED.

[72] Wenzel Müller.

[73] It is remarkable that Beethoven, even at that time, should manifest in these lines so correct a notion of musical copyright. Though no man of business, he perceived that the purchaser of the original melody must at the same time have a right of property of all arrangements, if copyright is to be maintained inviolate.

[74] The same pun with the word _stechen_ that has been remarked before.

[75] This alludes either to the "Italian and German Songs" (four numbers) published by me, or the "Italian and German Ariettes," Op. 82.

[76] This probably means the Missa Solemnis (Op. 123), afterwards published by the brothers Schott; for that brought out by Breitkopf and Härtel (Op. 86) had appeared long before the date of this letter.

[77] The compositions mentioned above by Beethoven have, as far as we know, never appeared in print, and were probably disposed of at the sale of his effects.

[78] The river which waters Berlin.

[79] Göthe's poem "Johanna Sebus."

[80] Clemens Brentano, the poet, Bettine's brother.

[81] See Göthe's Correspondence with a Child.

[82] From the Harmonicon, January, 1824.

[83] A neat little walled town of Austria, famous for its hot baths, seated on the river Schwocha. This must not be confounded with the more celebrated town of the same name in Switzerland.

[84] Mozart expressed himself in a similar manner; and Haydn, when at a performance of the Messiah in Westminster Abbey, was nearly overpowered by its sublime strains, and wept like a child.

[85] From the Harmonicon, December, 1825.

[86] Beethoven had already expressed himself to the same effect two years before to Hofrath Rochlitz, as may be seen in his work--"For the Friends of Music," vol. 4, page 355. I shall recur to this subject at the conclusion of the musical part of this book.

[87] There is no doubt that the vocal parts of Beethoven's works frequently lie very high, especially in places where words are to be pronounced. This is the case with his ninth Symphony with _Soli_ and Chorus. The 1st recitative for the bass voice is in some parts uncomfortably high; and the composer himself permits the singer, in its opening notes, to sing , or . He would certainly have given similar licences in several other parts of this recitative, if it had not been against his plan of unity in this musical poem, as the same notes of the recitative are performed by the double-bass in the foregoing instrumental movement. When I prepared, for the first time, to conduct this Symphony, on the occasion of its revival by the Philharmonic Society (April 17th, 1837), I found similar difficulties in other parts of the vocal movement. An imperfect execution of these was to be apprehended, derogatory to the general effect. I considered it a bold undertaking to attempt any alteration, since every work which comes from such a master-genius should be reverentially handled: I nevertheless ventured to facilitate the execution of the passages in question. The full amount of changes made by me is acknowledged in the following illustration:--in so doing I hope to prove the truth of the saying, "that he who accuses himself has the best chance of finding mercy at the hands of critical judges."--ED.

[88] He was in a measure right, for, what with _fioriture_ and roulades, the true Cantabile style had until then remained to these two ladies.

[89] The same thing took place with the bass solo part, in which, however, Beethoven at length gave way, and made a little alteration in the recitative, because it was too high for the singer.

[90] In this they were not in the wrong. As to the saying, "_jurare in verba magistri_," I am of opinion that it would be better to spoil the effect of a whole piece than to destroy a single voice; and that therefore every skilful Director should make such alteration as may be found necessary for the voices, especially in the Mass, where there are many soprano passages, which may be screamed, but cannot be sung. These alterations are, besides, very easily made, and the effect will be grand and true, when all the voices can proceed at ease.

[91] For an account of this Concert see Supplement, No. III., Vol. II.

[92] This refers to his brother Johann.

[93] See the Correspondence with Mr. Neate in the Supplement, No. II., Vol. II.

[94] Hofrath Rochlitz had already, in 1822, made him, in the name of M. Härtel, a proposal for the composition of Göthe's Faust.

[95] One of these answers, in Beethoven's hand-writing, I sent, in the year 1828, to Professor Marx, in Berlin, for the Berlin Musical Journal, but have never seen or heard of it since.

[96] This passage refers to the law-suit with his sister-in-law.

[97] Beethoven's brother.

[98] That he might not have to charge himself with any neglect, Beethoven, contrary to his custom, remained in town during the summer of 1826.

[99] As far as I have been able to learn, this nephew now holds some civil appointment under the Austrian government. It is therefore probable that time, circumstances, and mature reflection, have induced him to return to the right path, as we must all wish that he should. When we remember, however, the evil auspices under which his early education was conducted, we shall be inclined to seek in that period for the original causes of these most painful occurrences, and not be tempted to lift a stone against him, but rather leave him to be judged before the tribunal of that Divine Providence who has seen fit to subject our immortal composer to the severe trials beneath which he so early sunk.

[100] See the Correspondence between Beethoven and the Editor, Supplement No. VI., Vol. II.

[101] In a letter to Ries, dated the 5th of September, 1823, Beethoven says,--"My brother Johann, who keeps his carriage, has been trying to draw upon me."

[102] Mr. Stumpff, the proprietor of a harp manufactory in London, presented to Beethoven, the year before, the complete works of Handel, in upwards of forty folio volumes, of the rare and costly London edition. He was more delighted with this present than if he had received the Order of the Garter. At the sale of his effects, M. Tobias Haslinger bought this work for 100 florins!!! and from this it is easy to imagine what prices were paid at that auction for articles of less value.

[103] This gentleman, my particular friend, was for many years attached to the house of Baron von Eskeles, at Vienna, as tutor and companion to his only son. The reader will find some letters from him in the Supplement No. VI., Vol. II.--ED.

[104] It was not possible, and I therefore complied with his desire immediately after his decease, and conveyed his thanks to these two worthy men.

[105] Beethoven would have designated his career more accurately had he said--_drama finitum est._

[106] It is worthy of mention that Beethoven for several weeks obstinately rejected the advice of Dr. Bach and myself, to place the property to be left for his nephew in the hands of trustees, till he should attain his majority, for which there existed the most urgent reasons. He wished that after his death his heir should come into the immediate possession of it, and dispose of it just as he pleased. It was not till after he had received the plainest proofs of the indifference of this heir to his misfortunes--since he often left Beethoven's letters for weeks together unanswered--that he agreed to our proposal, and accordingly wrote with his own hand his will, consisting of but three lines, by which, after the death of his nephew, the property was to devolve to his natural heirs.

[107] This will be more fully elucidated by M. Rau's letters. See Supplement, No. VI., Vol. II.--ED.

[108] For an account of the funeral, see Supplement, No. VII., Vol. II.

[109] This part properly belongs to the historical section of the biography, of which it forms the completion. But as its incorporation with the historical matter would frequently have occasioned an interruption of the narrative, I have thought it better to make the exclusively musical part of the work the subject of a distinct section.

[110] In like manner, Clementi has characterized his grand Sonata, No. 3, Op. 50. Having taken his ideas from the History of Dido, he illustrated his composition by the superscription:--"Didone abbandonnata--Scena tragica;" and besides, in the course of the work, not only the different movements, but also single passages, are rendered intelligible by particular superscriptions. It is truly unpardonable that this noble work, deserving to be ranked on a level with Beethoven's Sonatas, should be unknown to most of the pianoforte players of the present day. In the judgment of modern musicians and dilettanti, Clementi belongs to the old school; but I may here take the opportunity of recording Beethoven's opinion of him. Among all the masters who have written for the pianoforte, Beethoven assigned to Clementi the very foremost rank. He considered his works excellent as studies for practice, for the formation of a pure taste, and as truly beautiful subjects for performance. Beethoven used to say,--"They, who thoroughly study Clementi, at the same time make themselves acquainted with Mozart and other composers; but the converse is not the fact."

[111] With few exceptions, the Sonatas were all composed at the two periods alluded to.

[112] The happy state of feeling by which Beethoven was at this time animated inspired him with the idea of setting to music, with full orchestral parts, Schiller's "Lied an die Freude."

[113] The reader will recollect an anecdote of Beethoven and his brother, relative to a circumstance which occurred on New Year's Day, 1823, together with the New Year's Day card.

[114] This calls to mind the fact related by Ries, in his _Notizen_, p. 107, in reference to the direction he received, when in London, from Beethoven:--"At the commencement of the _Adagio_ in the Sonata, Op. 106, place these two notes for the first bar." Ries expresses great astonishment at the effect produced by the two notes.

[115] That this maxim admits, in our unpoetic and superficial age, of a much more extended application than it did in former times, must be with regret acknowledged by every unprejudiced observer of the modern phenomena in the region of art. Twenty or thirty years ago, great musical talent, enjoying the good fortune of being directed by able instruction, might easily have attained the highest degree of cultivation, there being then no reason to fear those seductive and slippery paths of the musical career, whereby distinguished talent is now so often led astray. A period not yet more remote than twenty or thirty years ago, was favourable to the development of faculties like those of the Countess Sidonie of Brunswick, in Pesth, of whom mention has been made in the Second Period. The present age repeats with enthusiasm the name of "Clara Wieck,"{*****} who for versatility of talent will not easily find a rival among her own sex. But talent which is to be judged by the tribunal of public opinion, if it do not render homage to the taste of the age, must at least show deference to it, and thereby lose its genuine artistical purity. This purity of taste is to be looked for only in dilettanti, who always keep in view the ideal beauty of pure unperverted truth of feeling, because their talents are exercised only in a small circle of musical friends of their own choice. Such persons, however, always remain mere dilettanti, as they do not cease to fulfil those duties which their domestic or other social relations demand, and which, by a prudent distribution of time, are easily rendered compatible with study in any situation in life. It is only on these conditions that their efforts in art, when they rise far above the common level, will win the admiration and approval of all truly cultivated artists.

{*****}Now Mad. Schuman.--ED.

[116] So far as my observation goes, it inclines me to dissent from this opinion. Not only are the new editions of Beethoven's works substantial evidences that his magnificent and various talent finds an increasing number of worshippers among the amateurs of Europe, but there are few of the distinguished Solo players of the day, who do not seek to recommend themselves by acquaintance with his music, and public and private performances of it. In new countries and circles, moreover, is the taste for it rapidly spreading: I may instance London and Paris, where it is now deeply studied by the profession, and eagerly sought after by the public.--ED.

[117] Matheson's "Vollkommener Kapell-meister" was published at Hamburgh, in 1739.

[118] There is so much intrinsic spirit and value in Beethoven's orchestral works, that it is beyond the power of occasional mistakes or exaggerations in _tempo_, on the part of the players, to convert them into common prose. In England, certain movements are frequently taken too slow; in France, others too quick--according to my recollection of the _tempo_ as given to the orchestra by the composer when he conducted--still without the metamorphosis taking place.--ED.

[119] The reader may deem it not uninteresting to be made acquainted with Mozart's opinion with reference to the unsatisfactory manner in which his compositions were sometimes performed. In the Biography published by H. von Nissen and Mozart's widow, we find, at p. 27, the following passage:--"Mozart complained bitterly of the injury which his compositions frequently sustained by faulty performance, especially by a too great acceleration of the _tempo_. They think that this rapidity imparts fire to the composition; but truly if there is not fire in the music itself, it can never be galloped into it." (These were Mozart's own words.)

[120] The structure and extent of the hall of the great Imperial Ridotto at Vienna, in which the concerts of the Musical Society are held, renders a powerful orchestra necessary.

[121] This was the exact number of performers on the occasion when his Symphonies were first brought forward.--ED.

[122] The metronomic sign may be compared to a paragraph of a code of laws which is cited as an authority for the decision in some particular case. The dictating movement of the metronome facilitates a just comprehension of a musical composition. A correct metronomic direction leads the intelligent musician by the right path into the spirit of the music; whilst an erroneous indication of the time leads him very far astray in his endeavours to seize that spirit.

[123] By way of excepting my self from the sweeping censure here bestowed upon all who have attempted to fix the metronomic signs to Beethoven's compositions, I hope I may be permitted to state, that in superintending for Messrs. Cramer and Co. the new edition of his works, and in metronomising the several compositions, I have not merely listened to my own musical feelings, but been guided by my recollections of what I gathered from Beethoven's own playing, and that of the Baroness Ertman, whom I have heard perform many of his works in his presence, and to his entire satisfaction, at the musical meetings alluded to by M. Schindler in this work, vol. i, p. 183, and at Mr. Zmeskall's. In some of the quick movements I have purposely refrained from giving way to that rapidity of piano-forte execution, so largely developed at the present time. It is with satisfaction that I add, that the _tempi_ I have ventured to give differ very slightly from those affixed to Haslinger's Vienna edition, by Carl Czerny, whom I consider to be a competent authority in the matter.--ED.

[124] Did not M. Schindler, in page 119 of this volume, more duly appreciate the merits of Liszt than the reader might infer from the above, I should gladly avail myself of this opportunity to do homage to the amazing talent of that artist.--ED.

[125] I cannot calmly submit to be put under this ban, but rather stand up and defend my metronomic Signs of the Op. 27, as well as of all the others in the edition.--ED.

[126] In this angry denunciation against metronomising M. Schindler goes too far. The musical world knows, that marking the time by a metronome is but a slight guide for performers and conductors. Its object is to show the general time of a movement, particularly at its commencement; but it is not to be followed strictly throughout; for no piece, except a march or a dance, would have any real life and expression, or light and shade, if the Solo performer, or the orchestra under its conductor, were strictly to adhere to one and the same _tempo_, without regard to the many marks which command its variations. (See M. Schindler's own subsequent words on this subject, pp. 116 and 117.) The player or conductor, who enters into the time and spirit of the piece must feel _when_ and _where_ he has to introduce the necessary changes: and these are often of so delicate a nature, that the marks of the metronome would become superabundant, not to say impossible. This duly considered, the differences in the metronomic signs here denounced will be found too trifling to draw forth such animadversions.--ED.

[127] In Op. 27 both title and dedication vary from the mode in which they are given by the composer. The following are the words written by Beethoven, which refer specially to No. 1:--"Sonata quasi Fantasia, dedicata alla Madamigella Contessa Giulietta di Guicciardi."

[128] This reasoning seems to me somewhat void of logic, since the same spirit which would urge M. Schindler's "most fashionable" piano-forte player to exceed the _tempi_ of Beethoven's Sonatas, would prompt him also to play the above-mentioned Studies with such a degree of celerity as must enable him to be prepared for the difficulties, at _prestissimo_ speed, of the great master's Sonatas.--ED.

[129] Beethoven himself?--ED.

[130] I shall presently have occasion to quote a remark of Beethoven's, in which the above words occur.

[131] "The _tempo_ of the Sonata, fixed by Maelzel's metronome, you shall have by next post," says Beethoven, in his letter of the 30th of April. Why not have sent it with the manuscript of the music? It was a mechanical occupation, and Beethoven was not inclined to turn to it on that day. Unfortunately, he was not better disposed to set about it before the departure of the following post.

[132] The reader will recollect Beethoven's letter to Moscheles, dated March 18th, 1827, alluded to in the third period. In that letter he enclosed the metronomic signs for the Ninth Symphony, after the Symphony to which those signs belonged had been some time in London.

[133] If Beethoven, though acknowledging the useful adaptability of the metronome, was, nevertheless, frequently undetermined, and, by twice fixing metronomic signs to the same works, contradicted himself, it merely shows that he was influenced by the musical feeling of the moment. Another proof that two different musicians, like Czerny and myself, could naturally hardly fail to deviate slightly in pointing out the _tempo_ of Beethoven's works. His saying here quoted, "Better no metronome!" is no proof that he wished to abolish its use, but that he only feared that it might be insufficient to determine the rate of movement in its different variations.--ED.

[134] See my note, p. 100.--ED.

[135] With regard to pianoforte playing, Beethoven always inculcated the following rule:--"Place the hands over the key-board in such a position that the fingers need not be raised more than is necessary. This is the only method by which the player can learn to _generate tone_, and, as it were, to make the instrument sing." He abjured the _staccato_ style, especially in the performance of phrases, and he derisively termed it "finger-dancing," or "manual air-sawing." There are many passages in Beethoven's works which, though not marked with slurs, require to be played _legato_. But this a cultivated taste will instinctively perceive.

[136] I agree with M. Schindler in these remarks. The slight deviations of time recommended must give life and expression, not only to this movement, but also to the imaginative compositions of all the great masters.

Their success, however, can only be assured by intimate acquaintance on the part of the band with the manner of the conductor, and his mode of conveying his intentions, either from long intercourse or careful rehearsals.--ED.

[137]?!--ED.

[138] See Score, p. 3.

[139] See Score, p. 23.

[140] Will it be believed in Vienna that Beethoven's Symphonies were assiduously practised from twelve to sixteen months, and the Ninth Symphony, with Schiller's Ode to Joy, full two years, in the Conservatoire of Paris, before they were performed in public? This is a fact. It is also a fact that on occasion of the first performance of this Ninth Symphony, in 1824, at the Kärnthner-Thoe theater, Beethoven could obtain no more than two rehearsals, because the orchestra was engaged in rehearsing a new Ballet. Remonstrances and entreaties, on the part of Beethoven, for a third rehearsal, which he considered necessary, proved unavailing. He received for definitive answer--"Two rehearsals will be quite sufficient." What will the professors of the Paris Conservatoire, and M. Habeneck, the leader, say to this?

[141]

INSTRUMENTAL MUSIC.

Ducats.

Symphonies for the whole Orchestra 60-80
Overtures 20-30

FOR THE VIOLIN.

Concertos for Violin, with Orchestral Accompaniments 50
Ottetts for various Instruments 60
Septetts ditto 60
Sextetts ditto 60
Quintetts for 2 Violins, 2 Violas, and Violoncello 50
Quartetts for 2 Violins, Viola, and Violoncello 40
Terzetts for Violin, Viola, and Violoncello 40

FOR THE PIANO-FORTE.

Concertos for the Piano-forte, with Orchestral
Accompaniments 60
Fantasia, ditto 30
Rondo, ditto 30
Variations, ditto 30
Ottetts for Piano-forte, with Accompaniments
of various Instruments 50
Septett ditto 50
Quintett ditto 60
Quartett ditto 70
Terzetts for Piano-forte, Viola, and Violoncello 50
Duetts for Piano-forte and Violin 40
Duetts for Piano-forte and Violoncello 40
Duo for Piano-forte, for four hands 60
Sonata (Grand) for Piano-forte, alone 40
Sonata for Piano-forte, solo 30
Fantasia for Piano-forte 30
Rondo for Piano-forte 15
Variations for Piano-forte, with Accompaniments 10-20
Variations for Piano-forte, solo 10-20
Six Fugues for Piano-forte 30-40
Divertimentos, Airs, Preludes, Pot-pourris, Bagatelles,
Adagio, Andante, Toccatas, Capriccios,
for Piano-forte, solo 10-15

VOCAL MUSIC.

Grand Mass 130
Smaller Mass 100
Greater Oratorio 300
Smaller Oratorio 200
Graduale 20
Offertorium 20
Te Deum Laudamus 50
Requiem 120
Vocal Pieces with Orchestral Accompaniments 20
An Opera Seria 300
Six Songs, with Piano-forte Accompaniments 20
Six shorter ditto ditto 12
A Ballad 15

Immediately underneath were the following remarks in Beethoven's handwriting:--"One might reserve a right occasionally to alter or to fix new prices. If the above are meant merely for Austria, or (at most) France, and England is left to me, they might be accepted. In regard to several items, one might retain the right of fixing the price oneself. As to the publication of the complete works, England and France should perhaps be reserved for the author. The sum to be paid by the publishers would be 10,000 florins, Vienna currency. As they wish also to treat for the publication of the complete works, _such_ a contract would, in my opinion, be the best." ... "Perhaps stand out for London and Paris, and write to Schlesinger on the subject."

[142] See Beethoven's facsimile in the original German, of which the above is a translation. No. I.

[143] I remember, after having been for some time resident in England, in the course of a conversation with Beethoven, at his house in Vienna (in November, 1823), asking him in writing (then the only mode of communication with him), "How is the Archduke Rudolph?" He answered abruptly, "He is quietly tending his sheep at Olmütz" (Er hütet seine Schafe in Olmütz)--an allusion to the Archduke's Cardinalship.

The same conversation was remarkably interesting to me, as affording me many proofs of the extreme interest Beethoven took in the diffusion of his works in England, and the fondness with which he cherished the idea of himself directing their performance and witnessing their popularity in that country. He asked me many minute questions about the state of the orchestras, and the organization of the different musical societies of London.--ED.

[144] With respect to most of the arrangements of Beethoven's works for two or four hands, especially his Symphonies, it is curious to imagine the destruction which the great master would have dealt among them, had he lived to see them. He would have waged war against them with fire and sword, and none would have been spared except those of Watts and Hummel. These Beethoven pronounced to be the best pianoforte arrangements of his works. As to the other arrangers, one of them has copied half of the score, and by this means burdened the performer with difficulties, which, on the pianoforte, owing to the homogeneous tone of the instrument, are useless, and frequently undistinguishable, whilst they obstruct the free flow of the melody, and, by fatiguing both the eyes and fingers of the player, render him incapable of following the spirit and soul of the music. Another of such arrangers, or, to speak more correctly, derangers, deserves to have his knuckles rapped for the liberty he has taken in making essential omissions and additions, with the view of improving Beethoven's music. M. Simrock would render a gratifying tribute to the memory of Beethoven, by engaging M. Watts to arrange all the Symphonies. By his arrangement of the fourth and sixth Symphonies, Watts has shown that he is more capable than any other of executing that difficult task in a spirit congenial with the composer's intention.

[145] Beethoven did not receive Rossini, though the latter called on him no less than four times. I shall make no comment on this fact, further than to observe that I wish Beethoven had not thus acted.

[146] The resolution thus hesitatingly formed. An effort of inspiration. "Must it be?" "It must be!"

[147] A kind of fish resembling the haddock, caught in the Danube.

[148] "Beethoven Studien," p. 26.

[149] Ries, in his "Notizen," p. 124, sets forth at length the reasons for these doubts.

[150] This fully proves that Beethoven always showed more contrition than his fault could warrant. The cause of the altercation is not mentioned in Wegeler's _Notizen_, from which these letters are extracted.--ED.

[151] This work was the Variations on Mozart's Figaro, "Se vuol ballare." (Dunst, 4th part, No. 27.) He afterwards dedicated a Sonata, or rather Sonatina, to her, which appeared in Dunst's edition, 1st part, No. 64.

[152] Barbara Koch, afterwards Countess Belderbusch, an intimate friend of Madame von Breuning, a lady distinguished alike in all the qualities which can adorn the mind of woman. She was surrounded not only by men of the highest talent--such as Beethoven, Romberg, Reicha, &c.--but science as well as rank did homage to her brilliant qualities.

[153] Afterwards Count of Marienstadt, and a classical writer.

[154] Angola rabbits, or silk hares.

[155] A shake is carried on through several bars with alternate fingers, whilst three fingers are employed besides. The fingering is marked.

[156] Beethoven complained to me of this musical espionage. He named to me the Abbé Gelinek, that most fertile writer of Variations, who always quartered himself in his vicinity. This might have been the cause of Beethoven's always choosing lodgings in a square or on the ramparts.

[157] The date of the year is wanting, but it is most probably 1800.

[158] Bonn had, through the war, lost its prince, the court, the administrative body--in fact, all its resources. It never had any trade or manufactures.

[159] Beethoven was most easily excited, and consequently very irritable; but when the first burst of passion had subsided, he had an open ear and a yielding heart for the reproofs of his friends. He would consequently be much more contrite than the occasion warranted. I have now before me a note of his which I received at Vienna, and which runs thus:--"What an abominable picture of myself you have shown me! Oh! I feel it: I am not worthy of your friendship. I did not meditate a base action: it was thoughtlessness which urged me to my unpardonable conduct towards you." Thus he fills three pages; and this is the end:--"But no more. I fly to you, and in an embrace ask for my lost friend; and you will restore him to me--to your contrite, faithful, and loving friend, BEETHOVEN." The two letters to Mlle. von Breuning, as above quoted, are of the same tenor. He had quarrelled with Stephen von Breuning (as with what friend did he not quarrel?), but, being made sensible of _his grievous wrong_, he wrote and acted in the same way, upon which the most heartfelt reconciliation took place; and the sincerest friendship subsisted uninterruptedly between them until Beethoven's death.

[160] The bark of daphne mezereum.

[161] John Adam Schmidt, councillor, &c. &c., oculist, and author of several classical works.

[162] I lived in close and friendly intimacy with Schmidt and Hunczovsky up to their death. The former wrote under his portrait, which he sent me,--

"Cogitare et esse sui, idem est. Wegelero suo Schmidt."

[163] My brother-in-law Stephen Breuning, Ferdinand Ries, Bernard Romberg, and myself, have been taught by experience that Beethoven was ever a slave to the tender passion, and that in the highest degree. His and Stephen Breuning's first love was Mlle. Jeannette d'Honrath, of Cologne, who often spent some weeks at the residence of the Breunings. She was as fair as lively, engaging and amiable, had a beautiful voice, and delighted in music. She often used to sing, in derision, to our friend, the well-known song:--

"What! part with thee this very day?
My heart a thousand times says nay,
And yet I know I must not stay."

The happy rival was Major Greth, of Cologne, who married the fair lady. This attachment of Beethoven's was followed by one for the amiable Mlle. W----; and it is but three years since B. Romberg told me many anecdotes of this Werther-like love. Neither this nor any of the former inclinations left any lasting impression upon his own mind or that of the fair ones. Beethoven was a great favourite at Vienna, and perhaps more so than many an Adonis might be; and I will leave connoisseurs and dilettanti to judge whether "Adelaide," "Fidelio," and many other things, could have been written if the author had not experienced those feelings which they so admirably depict. But let us take the author's word for it, as given in this letter, that he _was_ swayed by love. To the best of my knowledge, his affections were generally placed in the higher ranks.

[164] This alludes to a violent quarrel which arose between the composer and his friend, about some lodgings which the latter had taken for him.

[165] Ries then lived at a tailor's, who had beautiful daughters.

[166] My lot in this particular was that of his pupil Ries. The dedication was made by letter only; but are not such letters of greater value?

[167] This alludes to what will appear by and by in Ries's sketches.

[168] Beethoven was here mistaken. It was not a song of his composition which he no longer possessed, but merely new words put to Matthisson's Ode. I did the same thing with an early song of Beethoven's--"Who is a free man?" (_Wer ist ein freier Mann?_) Beethoven wished to have words for the theme of those Variations with which the grand Sonata, Op. 26, dedicated to Prince Lichnowsky, commences. My attempt did not however satisfy me: thus he never saw it.

[169] Joseph Simrock, music publisher, the head of the present house.

[170] "Dessiné par Letronne, et gravé par Hoefel, 1814. For my friend Wegeler. Vienna, March 27, 1815. Ludw. van Beethoven." Our mutual friend, Director Eichhoff, brought it away for me after the congress.

[171] Beethoven was educating the son of his brother Caspar, who had died the preceding year.

[172] Beethoven was then living at Bonn, in the Wenzel Street.

[173] The reader may judge hereby what to think of Beethoven's contempt of such distinctions.

[174] A month before his death.

[175] I had, if my memory serves me, reminded him of Blumauer, who lived many years after having been tapped. I proposed to him to fetch him from the Bohemian baths, take him by a circuitous route to the Upper Rhine, and then down to Coblentz, where he was finally to recover.

[176] On the portrait stands, _above_ his name, "To my long tried and much beloved friend, F. G. Wegeler." There is no date affixed.

[177] I am indebted to the kindness of Mr. Neate for the following correspondence, which succeeded the acquaintance formed between the two at Vienna in the year 1815; and, as will be seen, includes a letter from Mr. Neate in elucidation of a misunderstanding which had arisen between them. Beethoven's letters to Ries I extract from Dr. Wegeler's Notices, &c.--ED.

[178] Mr. Neate was at the time one of the directors of the Philharmonic Society.--ED.

[179] This is the title on the piano-forte score.--(Beethoven's own note).

[180] The reader will perceive that I have given this letter without attempting to correct its orthography, conceiving it to be one of those cases where the original imperfection rather adds to than diminishes the interest of the document.--ED.

[181] This letter, not written but signed in Beethoven's own handwriting, is here given in the original English text.--ED.

[182] These were dedicated by the author to Mr. Neate.--ED.

[183] This letter cannot be produced.--ED.

[184] In consequence of this offer, the Philharmonic Society ordered a Symphony for one hundred guineas, and he accordingly sent them his Ninth Symphony.--ED.

[185] I have, in my edition of this Sonata, marked the time of the first movement 138 of Maelzel's Metronome, because Beethoven himself had fixed that number. He, according to "Wegeler's Notizen," gives it with a minim--I with a crotchet; but neither of these can, to my mind, be made to suit the character of the movement. The minim increases it to so fearful a prestissimo as Beethoven could never have intended, since he desired the _Assai_, originally prefixed to the _Allegro_, to be omitted. The crotchet slackens the movement all too much; and although I have, in my edition, allowed Beethoven's numbers to remain, in deference to the great man, yet I would advise the player to hold a middle course, according to the following mark: = 116.--ED.

[A] Ries gives the following account of this new bar:--All the "Initiated" must be interested in the striking fact which occurred respecting one of Beethoven's last solo-Sonatas (in B major, with the great Fugue Op. 106)--a Sonata which has _forty-one pages of print_. Beethoven had sent it to me to London for sale, that it might appear there at the same time as in Germany. The engraving was completed, and I in daily expectation of the letter naming the day of publication. This arrived at last, but with the extraordinary "request,"--"Prefix the following two notes, as a first bar, to the beginning of the Adagio." This Adagio has from nine to ten pages in print. I own the thought struck me involuntarily, that all might not be right with my dear old master, a rumour to that effect having often been spread. What! add _two notes_ to a composition already worked out and out, and completed six months ago? But my astonishment was yet to be heightened by the _effect_ of these two notes. Never could such be found again--so striking, so important--no, not even if contemplated at the very beginning of the composition. I would advise every true lover of the art to play this Adagio first without, and then _with_ these two notes, which now form the first bar, and I have no doubt he will share in my opinion.

[B] This minim should be a crotchet--an error which originates either in a misprint in Dr. Wegeler's "Notizen," or in Beethoven's own manuscript letter to Ries.--ED.

[186] How numerous his proposals! How much scope he leaves me! Was it in presentiment of the difficulties which would attend its sale?--RIES.

[187] The plan for Beethoven's journey.

[188] The letter, sealed in two places, as also the direction on the cover, were written in Beethoven's own hand. These were inclosed in a letter to me, and a cover put over the whole. Probably the address seemed so illegible to himself that he put a third cover over it, without removing the second one.--RIES.

[189] Seventeen shillings: ten and a fifth florins.--RIES.

[190] It has materially suffered during the last three years.

[191] Beethoven received 25 guineas in a cheque of £26 5_s._, while the calculations were made in pounds.--RIES.

[192] Mr. Neate did not succeed in disposing of these three Quartets (oeuvres posthumes) to a publisher.--ED.

[193] It was suggested that this Symphony should be performed at the musical festival at Aix-la-Chapelle. Beethoven, however, did not send it. The committee had written to him directly, but had received promises only. At last I wrote, and begged that, knowing him and his scores as well as I did, he would send me the original score, which I should be able to make out. I promised him at the same time (well aware of his constant want of money) another present, which I received for him some time after to the amount of forty louis-d'ors.--RIES.

[194] Probably belonging to a dramatic piece, "The Ruins of Athens," written for a performance at Pesth.