Chapter IX: Part II (1)

Vindication of the Court of Austria from the charge of neglecting
Beethoven--His quarrel with a Publisher at Vienna--Mortification
arising from his Deafness--Wretched Lodging--Beethoven undertakes
to write a new Opera, but is deterred by the prospect of coming in
contact with German Singers--His ninth Symphony--Letter from the
Archduke Rudolph--Italian Opera at Vienna--Flattering Memorial
addressed to Beethoven--Concerts--His discourtesy to Vocal
Performers--His credulity and hasty condemnation of his Friends--Is
invited to visit England by the Philharmonic Society--Disgraceful
conduct of Prince Nicholas von Galitzin--Severe illness--He sets
aside a Fund as a Provision for his Nephew--Ingratitude and
Misbehaviour of that Youth--Distressing circumstances in which he
was involved by him--Beethoven's forlorn Situation--His last
Illness--His letters to Moscheles--He is assisted by the
Philharmonic Society--Total value of his Property--His
Death--Post-mortem Examination.

The court of Austria has very frequently been reproached by admirers of Beethoven's with having never done anything for him. The charge is true: but, if we examine this point more closely, and search for the motives, we shall perhaps find some that may excuse the imperial court for this backwardness.

We have already shown in the second period, when treating of the _Sinfonia eroica_, what were Beethoven's political sentiments. There needs, then, no further explanation to enable the reader to draw the certain conclusion, that a man, in whose head so thoroughly republican a spirit had established itself, could not feel comfortable in the vicinity of a court, and that this would not do anything to serve him. This is quite enough to elucidate in the clearest manner Beethoven's position in regard to the imperial court. Had not the Archduke Rudolph cherished such an enthusiastic fondness for music, and had not his spirit harmonized so entirely with Beethoven's and with his whole nature, he would have fled from him as he did from the whole court. The only exception was the Archduke Charles, the victor of Aspern, whom Beethoven always mentioned with veneration, as he knew to a certainty how well the illustrious hero could appreciate him; and this prince alone had admittance to his brother the Archduke Rudolph, when Beethoven was with him. This liberal patron of arts and artists, who united the purest humanity with the warmest attachment to his great instructor, probably adopted this precaution for the purpose of avoiding any collision with other members of the imperial family,[62] The excellent Count Moritz von Lichnowsky tried for a long time in vain to produce a change in Beethoven's sentiments on this point, till, in 1823, his efforts were, in some degree, successful. In the February of that year, this noble and indefatigable friend proposed to Count Moritz von Dietrichstein, at that time director of music to the court, that Beethoven should be commissioned to compose a Mass for His Majesty the Emperor, hoping by this expedient to bring the master nearer to the court, and, as it were, to reconcile it with him. Count von Dietrichstein, a profound connoisseur, immediately acceded to the suggestion, and I am enabled to communicate the results from the correspondence which took place between the two counts and Beethoven on the subject.

In a letter, dated the 23rd of February, from Count Dietrichstein to Count Lichnowsky, he writes, among other things, as follows:--

"Dear Friend,

" ...I here send you also the score of a Mass, by Reutter, which
Beethoven wished to see. It is true that His Majesty the Emperor is
fond of this style; but Beethoven, if he writes a Mass, need not
stick to that. Let him follow the impulse of his great genius, and
merely attend to the following points:--Not to make the Mass too
long or too difficult in the execution;--to let it be a Tutti-Mass,
and in the vocal parts to introduce only short soprano and alto
solos (for which I have two capital singing boys)--but neither
tenor, nor bass, nor organ solos. As to the instruments, he may
introduce a violin, or oboe, or clarinet solo, if he likes.

"His Majesty is very fond of fugues, when well executed, but not
too long;--the Sanctus, with the Hosanna, as short as possible, in
order not to delay the Transubstantiation; and, if I may venture to
add, on my own account, the Dona nobis pacem, connected with the
Agnus Dei, without any particular break, and kept _soft_; which, in
two Masses by Handel, (compiled from his Anthems)--in two Masses of
Naumann's and the Abbé Stadler's--produces a particularly fine
effect.

"Such are, briefly, according to my experience, the points to be
observed; and I should congratulate myself, the court, and the art,
if our great Beethoven would speedily set about the work."

Beethoven accepted this commission with pleasure. Accompanied by Count Lichnowsky, he called forthwith upon Count Dietrichstein, to confer more at large on the subject, and resolved to fall to work immediately; but this was all he did--not a step further could he be induced to stir. It was not any political crotchet that occasioned this stoppage. Frequent indisposition, a complaint of the eyes, and an untoward circumstance of an unexpected nature, were the causes of his deferring this undertaking. It was, moreover, just in the next autumn that the ideas of the 9th Symphony began to haunt his brain; and thus it happened that he thought no more of the Mass for the Emperor.

The unpleasant circumstance just alluded to arose out of a dispute with a publishing-house at Vienna (not now in existence), which was attended with consequences disagreeable to Beethoven. This house had long entertained the plan of drawing our master so entirely into its interest, that he should bind himself by contract to make over to it exclusively all that he should in future write. At the same time, this firm proposed to enter jointly with him into the publication of his complete works; a proposal which, in my opinion, was most favourable for Beethoven, and would very probably have been accepted, had it not been made dependent on the former plan. A formal scale (the original of which, with marginal remarks in Beethoven's own hand, is in my possession) was, in consequence, laid before him by the firm in question, in which every species of composition, from the Symphony and the Oratorio, down to the Song, was specified, together with the sum which it offered to pay for each. This tarif Beethoven was to sign. He consulted several persons on the subject, and, most of them having dissuaded him from entering into the engagement, he refused to place himself in a dependence so revolting to his whole nature. Why should no other publisher be allowed to adorn his shop with a work of Beethoven's, when the house in question already had so many of them? And why should the great master suffer his hands to be so tied as not to have the chance of getting a larger sum for this or that work from some other quarter? And why, besides, desire to secure a monopoly of the productions of mind?

As then the above plan failed to lead to the wished-for result, the other connected with it, relative to the publication of the collected works, likewise fell to the ground. The firm, in consequence, demanded of Beethoven the speedy repayment of the sum of eight hundred florins, advanced to him just at a time when he was in a very necessitous state, as not a single copy of the new Mass had yet found a subscriber. Highly indignant at the unfeeling conduct of a man who called himself his friend, and whose business had been for a long period so much indebted to Beethoven, our master directed his friend Dr. Bach to serve that house with a counter-requisition, insisting on its publishing immediately the manuscripts which had been for many years in its possession; namely--the first Overture to Fidelio--the Cantata _Der glorreiche Augenblick_ (The Glorious Moment)--and several more; alleging, as a legal ground, that it was important to the mental as well as to the material interest of the author, that the productions of his mind should not be shut up for a series of years under lock and key. The other party replied--"We have bought and paid for those manuscripts, consequently they are our property, and we have a right to do what we please with them." Dr. Bach dissuaded Beethoven from carrying the affair into court, for he knew, from the suit with his sister-in-law, what a mischievous effect such judicial proceedings had upon his temper and his professional activity, both of which had already suffered in a high degree. He advised him to dispose of a bank share, in order to discharge the debt due to the publisher; but it was not till after long resistance that Beethoven could be prevailed upon to comply.

I mention this circumstance, which was one of the most galling occurrences in the life of the great master, for the purpose of showing, at the same time, how highly he prized his artistical freedom and independence. On the other hand, we see his small savings again diminished in consequence of this incident. Shortly before, one share parted with to pay a debt due to a true friend; and now, another to satisfy the house in question--what trials for the temper of one struggling with continual indisposition and annoyance!

In the spring of 1823, Beethoven again took up his quarters in the pleasant village of Hetzendorf, where the Baron von Pronay assigned to him a suite of apartments in his beautiful villa. Supremely happy as he felt, when, in the first days of his residence there, he explored the noble park, or overlooked the charming landscape from his windows; yet he soon took a dislike to the place, and for no other reason than because "the Baron, whenever he met him, was continually making too profound obeisances to him." On the 24th of August, he wrote to me that he could not stay there any longer, and requested me to be with him by five o'clock the following morning, to accompany him to Baden, and assist him to seek lodgings there. I did as he desired; and off he started, with bag and baggage, for Baden, though he had already paid for his lodgings at Hetzendorf for the whole of the summer. His English piano-forte, made by Broadwood, presented to him several years before by Ferdinand Ries, John Cramer, and Sir George Smart, accompanied him in all these peregrinations. At the sale of Beethoven's effects, this instrument was purchased by the court-agent, von Spina, of Vienna, in whose possession it still remains.[63]

At that villa, in Hetzendorf, Beethoven wrote the _Thirty-three Variations on a Waltz by Diabelli_, Op. 120,--a work which amused him exceedingly. At first there were to be but six or seven Variations, for which moderate number Diabelli offered him eighty ducats: but when he fell to work they soon increased to ten; presently to twenty; then to twenty-five; and still he could not stop. Diabelli, who was apprehensive of having too large a volume, when he heard of twenty-five Variations, was at last obliged to accept thirty-three Variations instead of seven, for his eighty ducats. It was about the same sum, that is to say eighty ducats, that Beethoven received for nearly every one of his last Sonatas.

On his return to Vienna, in the autumn of the same year, Beethoven received an invitation from the manager of the court opera-house to conduct his _Fidelio_, which, after a long interval, was again to be represented. The proofs of his unfitness for such a duty, on account of his almost total deafness, furnished by the opening of the Josephstadt theatre in the preceding year, were still before his eyes. Nevertheless, nothing on earth could dissuade him from accepting this invitation: at his desire I accompanied him to the rehearsal. At the very first movement, the absolute impossibility of proceeding was apparent, for not only did he take the time, either much quicker or much slower than the singers and the orchestra had been accustomed to, but retarded them incessantly. Kapell-meister Umlauf set things to rights as long as it was practicable; but it was high time to tell poor Beethoven plainly--This will not do. But neither M. Duport, the manager, nor M. Umlauf, had the courage to say so; and when Beethoven perceived a certain embarrassment in every countenance, he motioned me to write down for him what it meant. In a few words I stated the cause, at the same time entreating him to desist, on which he immediately left the orchestra. The melancholy which seized him after this painful incident was not dispelled the whole day, and even at table he uttered not a single word.

Beethoven, after this event, applied repeatedly to the army-surgeon, Smetana, to relieve his complaint, and he actually put him for some time on a course of medicine; but the most impatient patient served the physic as he had always done before. He not unfrequently took in two doses the medicines destined for the whole day; or, he forgot them entirely, when his ideas lifted him above the material world and carried him into loftier regions. How difficult he was to manage in this particular was well known to every medical man who had attended him, and in former years even to von Vehring, physician to the staff, though he durst venture to assume a certain authority over him.

It was in this year that the Society of the Friends of Music of the Austrian Empire in Vienna sent to our Beethoven the diploma of an honorary member of that society. It is right to observe that this society had already existed ten years, and during that time nominated many native and foreign professional men honorary members, for which reason Beethoven felt hurt that he had not been thought of before. He would, therefore, have sent back the diploma immediately, but suffered himself to be persuaded not to do so, and rather to take it in silence, without returning any answer to the society.

The diploma of honorary member of the Academy of Arts and Sciences of Stockholm had been previously transmitted to him in the autumn of 1822.

Upon the whole, the year 1823 was thronged with incidents in Beethoven's life, the number of which was increased by the following circumstance:--Beethoven was quartered, by means of his brother Johann, in a dark lodging, fit at best for a shoemaker, and which, because it was cheap, was considered suitable for the "brainowner." But it was not this circumstance alone that made our master's life uncomfortable: in this lodging he had for his landlord a low-bred man, coarse in manners and disposition, who treated him with no more respect than if he had been a day-labourer. This was a miserable abode for Beethoven, who had been accustomed to something so very different; and the winter of 1822-23 might, owing to this fatal situation of the great composer, furnish plenty of matter for tales and humorous pieces. I know of but one cheering event which occurred while he was in that horrid den. In April, 1823, the Countess Schafgotsch, of Warmbrunn in Silesia, brought him his first Mass, with a new German text, written by M. Scholz, music-director at that place. We were just at dinner. Beethoven quickly opened the manuscript and ran over a few pages. When he came to _qui tollis_, the tears trickled from his eyes, and he was obliged to desist, saying with the deepest emotion, in reference to the inexpressibly beautiful text:--"Yes, that was precisely my feeling when I wrote this." This was the first and the last time that I saw him in tears. He was just about to send his second Mass to the same admirable writer, that he might adapt a German text to that also, when he received intelligence of his death; and I rejoiced exceedingly that I had been in time to inform that excellent man what an effect his work, which I still possess, had produced upon Beethoven.

In the first months of 1823 Beethoven was urged from various quarters to write an Opera, and the manager of the court opera-house was particularly desirous to have one of his composition. From Count Brühl, intendant of the court theatre at Berlin also, Beethoven received a commission to write an Opera for that house _à tout prix_. Dozens of opera texts were now collected, but he disliked them all; for he proposed to take a subject from the Greek or Roman history, to which objections were made on the absurd ground that those subjects had been already exhausted, and were no longer modern. At last came M. Franz Grillparzer with his Melusina. The subject pleased Beethoven, only he wished to have certain passages altered, which Grillparzer readily consented to do.[64] The poet and the composer were agreed upon the principal points of the alterations, and we were rejoicing in the prospect of seeing upon our boards Mademoiselle Henriette Sontag, whom Beethoven proposed to keep particularly in his eye, in the character of Melusina. But how did Beethoven disappoint us all! Annoyed by the recollection of what had happened with his _Fidelio_, he told no one that he had sent Grillparzer's manuscript to Count Brühl for his inspection. Of course we knew nothing about it till the Count's answer lay before us. The Count expressed himself much pleased with the poem, and merely remarked that there was a ballet performing at the court theatre of Berlin "which had a distant resemblance to Melusina." This observation, and the prospect of again coming into contact with German opera-singers, discouraged Beethoven to such a degree that he relinquished the idea of writing an Opera, and would not thenceforward listen to anything that might be said on the subject. I must, however, remark here that he was extremely delighted with the performances of the company then at the Italian Opera in Vienna,[65] to which belonged Lablache, Donzelli, Rubini, Paccini, Ambrogi, Ciccimarra; and among the ladies, Fodor-Mainville, Dardanelli, Ekerlin, Sontag, and Ungher; and was so particularly struck with the inspired Caroline Ungher, that he determined to write an Italian opera for that select band of priests and priestesses of Thalia. This design would certainly have been carried into execution in the following year (to which this new work was deferred on account of the already projected ninth Symphony), had not a fatal north wind blown away this and many other fine schemes, which we shall have occasion to notice hereafter.

In November, 1823, Beethoven began to compose the ninth Symphony, for which he brought many sketches from the country to town with him; and in February, 1824, this colossus was completed. It may not be uninteresting here to notice the way in which Beethoven contrived cleverly to introduce Schiller's song, "Freude, schöner Götterfunken," into the fourth movement of the symphony. At that time I was seldom from his side, and could therefore closely observe his struggles with this difficulty. The highly interesting sketches and materials for it, all of which I possess, likewise bear witness to them. One day, when I entered his room, he called out to me,--"I have it! I have it!" holding out to me his sketch-book, where I read these words, "Let us sing the immortal Schiller's song, 'Freude,'" &c., which introduction he afterwards altered to "Friends, not these tones!" This first idea will be found in the engraved fac-simile at the end of the Second Volume.

The recitative of the double-bass also was not comprehended in his original plan, and was added when he changed the above-mentioned introductory movement; in consequence of which it was necessary to give a different form to almost all that preceded, as the fundamental sentiment of that device required. He had nearly the same process to go through with the melody in the first verse which the bass-solo has to sing. The sketch-book shows a fourfold alteration, and above each he wrote, according to his practice, "Meilleur," as may be seen in the engraved fac-simile, No. II.[66]

In this, as the proper place for it, I shall introduce a correct copy of an autograph letter from the Archduke Rudolph to Beethoven, which serves to show the friendly relations subsisting between master and scholar.

"_Vienna, July 31st, 1823._"

"Dear Beethoven,--I shall be back again in Vienna on the 5th of
August, and shall stay there for some days. I hope that your health
will then permit you to come to town. In the afternoon from four
till seven I am generally at home.

"My brother-in-law, Prince Anton,[67] has already written to me
that the King of Saxony is expecting your beautiful Mass.

"As for D****r, I have spoken about him to our most gracious
Sovereign, as well as to Count Dietrichstein. Whether this
recommendation may prove serviceable I cannot tell, as there will
be a competition for that appointment, at which each of the
candidates must furnish proofs of his abilities. I should be very
glad if I could render a service to this clever man, whom I heard
with pleasure playing the organ last Monday at Baden, and the more
so, inasmuch as I am convinced that you would not recommend an
unworthy person.

"I hope that you have written your Canon; and beg you, if your
health would suffer by coming to town, not to exert yourself too
early, out of attachment to me.[68]

"Your sincere Friend and Scholar,

"RUDOLPH."

SUPPLEMENT

TO VOLUME I.

No. I.

_Letters from Beethoven to Kappellmeister Hofmeister and C. F.
Peters, Music Publishers, relative to the Sale of some of his
Compositions._[69]

The many attacks which have recently been made on the copyright of works by L. van Beethoven, which are my property, induce me to give a list of the compositions purchased from that author, which are the legitimate property of my house; namely:--

Concerto pour le Piano-forte avec Orch. Op. 19
Septuor pour Violon., Alto, Clar., Cor.,
Basson, Violoncelle, et Contrebasse " 20
Première gr. Sinfonie pour Orchestre " 21
Gr. Sonate pour le Piano-forte " 22
Deux Préludes dans tous les 12 tons majeurs
pour le Piano-forte ou l'Orgue Op. 39
Romance pour Violon avec Orchestre " 40
Sérénade pour le Pfte. et Flûte (ou
Violon) " 41
Notturno pour Pianof. et Alto " 42
Ouverture de Prometheus, pour Orchestre " 43
Quatorze Variations pour le Piano, Vln.,
et Violoncelle " 44

Respecting the works Op. 20 and 21, which have lately been invaded without my consent, by arrangements by other hands, I find myself obliged to communicate the letters written on the subject by Beethoven in the years 1800 and 1801, which incontestably prove on the one hand my exclusive property in these compositions, (as also in Op. 19 and 22,) and furnish, on the other, a highly interesting illustration of the individuality of the great composer, then in the flower of his age. I keep back the evidence in regard to the other six works, Op. 39-44, till a similar attack, which I hope will not occur, shall be made upon them.

C. G. S. BÖHME,

of the firm of C. F. Peters, Bureau de Musique.

NEUE ZEITSCHRIFT FÜR MUSIK, Leipsic, March 7, 1837.

Letters from Beethoven.

1.

Vienna, December 15, 1800.

My dearest Brother in the Art,

I have many times thought of answering your inquiries, but am a dreadfully lazy correspondent; and thus I am an age making up my mind to form the dead letter instead of the musical note; but at length I have done violence to myself in order to comply with your request.

Pro primo, you are to hear of my regret, dearest brother in the art, at your not having applied to me sooner, so that you might have purchased my Quartetts, as well as many other things which I have now disposed of; but if you, my good brother, are as conscientious as many other honest engravers, who sting[70] us poor composers to death, you will know how to make a profit by them when they come out.

I will therefore briefly state what my good brother may have of me.

1stly. A Septett per il Violino, Viola, Violoncello, Contrabasso, Clarinetto, Corno, Fagotto--tutti obligati (I cannot write anything inobligato, because I came into the world with an obligato accompaniment). This Septett has been highly approved.

2ndly. A Grand Symphony for the orchestra.

3rdly. A Concerto for the Piano-forte, which, it is true, I do not assert to be one of my best, any more than another, which will be published here by Mollo (a hint for the Leipzig reviewers), since I reserve the better ones for my own use, in case I should make a musical tour; yet it would not disgrace you to publish it.

4thly. A Grand Solo Sonata.

This is all that I have to part with at this moment. By and by you may have a Quintett for stringed instruments, perhaps Quartetts too, and other things which I have not by me just now. In your answer you may fix your own prices; and as you are neither a Jew nor an Italian, and as I do not belong to either nation, we shall not disagree.

Fare you well, my dearest brother, and be assured of the esteem of

Your brother,

L. V. BEETHOVEN.

2.

Vienna, the 15th (or some such day) of January, 1801.

I have read your letter, my dearest brother and friend, with great pleasure. I thank you heartily for the good opinion which you have formed of me and of my works, and sincerely wish that I may deserve it; and to M. K. (Kühnel) also I am in duty bound to express my thanks for the civility and friendship which he has shown me. Your doings give me much satisfaction, and I hope that, if there be any good to be gained for the art by my works, it may fall to the share of a genuine artist like you, and not to that of common traders.

Your intention to publish the works of Sebastian Bach is particularly gratifying to me, since I am all alive to the merits of those sublime productions: truly, Bach was the patriarch of harmony. May the sale of his works flourish! As soon as golden peace is proclaimed and you receive the names of subscribers, I hope to be able to do much to forward it myself.

As to our own affairs, since you will have it so, I offer you the following things:--Septett (about which I have already written to you), 20 duc.;[71] Symphony, 20 duc.; Concerto, 10 duc.; Grand Solo--Sonata, Allegro, Adagio, Minuetto, Rondo, 20 duc. This Sonata (in B flat) is of the true mettle, most beloved brother.

Now let me explain. You will perhaps be surprised that I make no difference between the Sonata, the Septett, and the Symphony, because I find that a Septett or a Symphony has not so large a sale as a Sonata; that is the reason why I do so, though a Symphony is incontestably of greater value. (N. B. The Septett consists of a short introductory Adagio, an Allegro, Adagio, Minuetto, Andante with variations, Minuetto, another short Adagio leading to a Presto.) The Concerto I set down at 10 duc., because, though well written, I do not consider it one of my best. Altogether, I cannot think that this will appear exorbitant to you; at any rate, I have endeavoured to make the charges as moderate as possible. As for the bill, since you leave it to my option, let it be drawn on Geimüller or Schüller. The whole sum, then, for all four works would be 70 ducats. I understand no other coin than Vienna ducats; how many dollars in gold that makes with you I know nothing about, because I am really no man of business or accountant.

And thus the tiresome business is settled: I call it so, because I heartily wish one could do without it in this world. There ought to be but one magazine of art, where the artist should have but to deliver his productions and to receive what he wants; but, as it is, one ought to be half a tradesman, and how is that to be borne?--Gracious God!--that is what I call tiresome. As for the L---- O----, let her talk; they will certainly not make anybody immortal by their tattle, nor will they rob _him_ of immortality to whom Apollo has assigned it.

Now may Heaven preserve you and your colleague! I have been unwell for some time, so that I find it rather difficult to write even notes, much more letters. I hope we shall often have occasion to assure one another how much you are my friends, and how much I am

Your brother and friend,

L. VAN BEETHOVEN.

A speedy answer. Adieu.

3.

Vienna, April 22, 1801.

You have reason to complain of me, and not a little. My excuse is this: I have been ill, and had besides a great deal to do, so that it was scarcely possible for me to think of what I had to send you: then again perhaps the only thing like genius about me is, that my things are not always in the best order, and yet nobody is capable of putting them to rights but myself. Thus, for instance, I had, according to my practice, omitted writing the pianoforte part in the score of my Concerto, and I have but just written it, and therefore, for the sake of dispatch, I send it in my own not over-and-above legible Manuscript.

In order to let the works follow as nearly as possible in their proper order, I remark to you that you may put

To the Solo Sonata Op. 22
" Symphony " 21
" Septett " 20
" Concerto " 19

The titles I will send you very soon.

Set me down as a subscriber to Johann Sebastian Bach's works, and also Prince Lichnowsky. The arrangement of Mozart's Sonatas as Quartetts will do you credit, and assuredly be profitable. I wish I could be of more service in such matters, but I am an irregular man, and, with the best will, forget everything; but I have here and there mentioned the subject, and find that the plan is everywhere approved. It would be a capital thing if my good brother, besides publishing the Septett as it is, would arrange it for the flute also as a Quintett. This would be a treat for the lovers of the flute, who have already applied to me for this, and who would then swarm about it like insects, and feast upon it. As for myself, I have composed a ballet, but the ballet-master did not manage the business well. Prince L---- has given us a new production, which does not come up to the ideas which the papers gave us of his genius--a fresh proof of their judgment. The Prince seems to have taken Mr. M---- [72] of the Kasperle Theatre for his model, but without equalling even him.

Such are the pretty prospects with which we poor fellows here have to fight our way in the world.

My dear brother, now make haste to lay the works before the eyes of the world, and write to me soon, that I may know whether I have lost your confidence by my neglect.

To your partner Kühnel everything civil and kind. In future, you shall have everything without delay; and herewith fare you well, and continue to regard

Your friend and brother,

BEETHOVEN.

4.

Vienna, June, 1801,

I am really somewhat surprised at the communication made to me by your agent in this place; nay, I am almost angry that you should think me capable of such a scurvy trick.

It would be a different thing if I had bargained for my things with shopkeepers intent only on gain, and had then clandestinely made another good speculation; but between artist and artist, it is rather too bad to impute such conduct to me. The whole appears to me to be either an invention to try me, or mere conjecture: at any rate, I confess, that before you received the Septett from me, I had sent it to London to M. Salomon (merely out of friendship, to be performed at his concert), expressly desiring him to take care not to let it get into other hands, as I meant to have it engraved in Germany; and you can make inquiry of him concerning this matter, if you think fit.

But, to give you a further proof of my honesty, I hereby assure you that I have not sold the Septett, the Concerto, the Symphony, and the Sonata, to any other person in the world but to you, Messrs. Hofmeister and Kühnel, and that you may formally consider them as your exclusive property, for which I pledge my honour. At any rate, you may make what use you please of this assurance.

For the rest, I can no more believe that Salomon is capable of so base a trick as to publish the Septett than I am to have sold it to him. I am so conscientious that I have refused several publishers the piano-forte arrangement of the Septett, for which they have applied to me,[73] and yet I do not even know whether you intend to make use of it in this manner.

Here follow the long-promised titles of my works.

In the titles there will be much to alter and improve: that I leave to you. I expect a letter from you immediately, and very soon the works, which I wish to see engraved, since others are already published and coming out with numbers relating to these.

I have written to Salomon; but considering your statement as a mere rumour which you have taken up rather too credulously, or as a conjecture which may have forced itself upon you, because you may accidentally have heard that I had sent it to Salomon, it only remains for me to add that I feel somewhat chilled towards friends so easy of belief, and as such sign myself,

Your friend,

L. V. BEETHOVEN.

5.

Vienna, April 8, 1802.

Does the devil then ride you all together, gentlemen, to propose to me to make such a Sonata?

During the revolutionary fever, well and good, such a thing might have been done; but now, when everything is getting into the old track, when Buonaparte has concluded a concordat with the Pope--such a Sonata!

Were it a Missa pro Sancta Maria, a tre voci, or a Vesper, why then I would immediately take up the pencil, and write in huge semi-breves a Credo in unum; but, gracious God! such a Sonata in these new-fangled Christian times! Ho ho! leave me alone--that won't do.

Now my answer in the quickest _tempo_, The lady can have a Sonata by me, and I will follow her general design as far as æsthetic goes, but without following the prescribed keys, price five ducats, for which she shall have the use of it a year, and in that time neither she nor I shall have the right to publish it. After the expiration of this year, the Sonata is again mine--that is, I can and will publish it; and she can certainly, if she thinks that it will be any honour, request me to dedicate it to her.

Now God preserve you, gentlemen.

My Sonata is beautifully engraved, but it has been a confounded long while a-doing. Do send my Septett a little quicker into the world, because the P---- is waiting for it, and you know the Empress has it; and--so that I cannot answer for what may happen, therefore look sharp.

Mr.---- has lately republished my Quartetts, in large and small size, full of blunders and errata. They swarm in them like fish in water, that is, to infinity--questo è un piacere per un autore--that I call stinging[74] to some purpose. My skin is covered with stings and scratches with these charming editions of my Quartetts.

Now farewell, and think of me as I do of you. Till death your faithful

L. VAN BEETHOVEN.

6.

Vienna, September 22, 1803.

Hereby then I declare all the works about which you have written, as your property. Another copy shall be made of the list of them, and sent to you with my signature as your acknowledged property; and the offer of fifty ducats I accept. Are you satisfied now?

Perhaps, instead of the Variations with violoncello and violin, I can give you Variations on the piano-forte, for two performers, on a song by me, the poetry of which, by Göthe, must likewise be engraved, as I have written these Variations as a souvenir in an album, and consider them better than the others. Are you satisfied?

The arrangements[75] are not by me, but I have revised and improved them in part, so don't pretend to say that I have arranged, as that would be a lie, and I could not find either time or patience for such things. Are you satisfied?

Now farewell. I can but wish you to thrive in every way. Gladly would I make you a present of the whole, if I could get through the world in that way; but only consider; all about me get appointments, and have something certain to live upon; but, gracious God! how can a parvum talentum com ego look for an appointment at the Imperial court?

Your friend,

L. V. BEETHOVEN.

* * * * *

The following are extracts from letters written at a later and less cheerful period of life, and addressed to M. C. F. Peters of Leipsic:--

7.

Vienna, July 26, 1822.

I write to you merely to say that you shall have the Mass,[76] together with a piano-forte arrangement, for the sum of 1000 florins, Vienna currency. By the end of July you shall receive it fairly copied in score, perhaps a few days later, as I am exceedingly busy, and have been, for five months, ailing: as one must go through works very carefully, if they are to go abroad, this is a matter that proceeds rather more slowly with me. ---- shall in no case have anything more from me, as he has played me a Jewish trick; besides, he is not one of those to whom I would have sold the Mass. The competition for my works is at present very strong, for which I thank the Almighty, for I have lost a great deal.

I am moreover the foster-father of my brother's child, who is left wholly unprovided for. As this boy, now fifteen years old, shows a great capacity for the sciences, not only do his education and maintenance cost me a great deal of money at present, but I am obliged to think about the future, as we are neither Indians nor Cherokees, who, as you know, leave everything to God Almighty, and a pauper has but a melancholy existence of it.

I assure you, upon my honour, which, next to God, is the most sacred thing with me, that I have never asked any one to take commissions for me; I have always made it a particular point not to offer myself to any publisher, not out of pride, but because I wished to know how far the territory of my humble talent extends....

I conclude for to-day, wishing you all prosperity, and am, with esteem,

Your most obedient,

L. V. BEETHOVEN.

8.

Vienna, August 3, 1822.

I wrote to you lately about my health, which is not yet quite restored: I am obliged to take baths, mineral waters, and at times, medicine.

I am therefore rather at sixes and sevens, especially as I am obliged at the same time to write, and then corrections run away with time. In respect to the Songs, and the other Marches and trifles, I have not yet made up my mind as to the choice, but I shall be able to furnish everything by the 15th of this month. I wait your determination about it, and shall make no use of your bill. As soon as I know that the money for the Mass and for the other works is here, all can be supplied by the 15th instant; but after the 15th I must go to a neighbouring bathing-place; I am therefore desirous to have no engagements on my hands for a while.

About all other matters, some day when I am not so pressed. Only do not take an unhandsome advantage of me: it pains me when I am obliged to bargain.

In haste, with respect,

Your most obedient,

BEETHOVEN.

9.

Vienna, November 22, 1822.

In reply to your letter of the 9th of November, in which I fancied you meant to reproach me for my apparent neglect--and the money paid too, and yet nothing sent to you--unhandsome as this seems, I am sure you would be reconciled with me in a few minutes if we were together.

Your things are all done, except the selection of the Songs: they contain one more than was agreed upon.

Of Bagatelles I can send you more than the four determined upon; there are nine or ten others, and, if you write immediately, I could send them, or as many as you wish to have, along with the other things.

My health is not indeed completely restored by my baths, but I am better upon the whole; but another evil has now come upon me, since a person has taken me a lodging that does not suit me, and this is difficult to conquer, and has hindered me not a little, as I cannot yet get myself to rights here.

In regard to the Mass, the matter stands thus: I have one that has long been completely finished, but another that is not; tattle is what such as we are always liable to, and so you have been led into a mistake by it. Which of the two you should have, I know not yet; harassed on all sides, I should be forced almost to attest the contrary of the axiom--"The mind weighs nothing." I salute you cordially, and hope that the future will suffer an advantageous, and for me not dishonourable, connexion to subsist between us.

BEETHOVEN.

10.

Vienna, December 20, 1822.

Having a leisure moment, I answer your letter to-day. Out of all that belongs to you, there is nothing that is not ready; but precious time is wanting to explain all the details that have prevented the copying and sending.

I recollect to have offered you in my last letter some more Bagatelles, but do not insist on your taking them; if you will not have more than the four, so be it--only in that case I must make a different choice. Mr. ---- has not yet got anything from me. Mr.---- merely begged me to make him a present of the songs in the _Modezeitung_ (Journal of Fashion), which I never composed exactly for pay, but it is impossible for me to deal in all cases by per cents.; it is difficult for me to reckon by them oftener than I am forced to do; besides, my situation is not so brilliant as you imagine.

It is impossible to give ear at once to all these solicitations; they are too numerous; but many things are not to be refused. Not always is that which people ask for suitable to the wish of the author. Had I anything in the shape of a salary, I would write nothing but grand Symphonies, Church Music, and besides, perhaps, Quartetts.

Of smaller works you might have--Variations for two oboes and one English horn on the theme in Don Giovanni, "La ci darem la mano;" a Minuet of Congratulation for a whole orchestra.[77] I should like to have your opinion too respecting the publication of the collected works. In the greatest haste,

Your most obedient,

BEETHOVEN.

11.

Vienna, March 29, 1823.

It is only to-day that the other three Marches can be sent off; we missed the post this day week. Irregular as I have been with you on this occasion, it would not appear unnatural if you were here, and acquainted with my situation, a description of which would be too tedious for you as well as myself.

Respecting what has been sent off I have this remark yet to make: in the grand March, which requires so many performers, several regimental bands may unite; where this is not the case, and one regimental band is not strong enough, the Kapell-meister of such a band may easily help himself by the omission of some of the parts.

You will meet with some one in Leipzig who can show you how this can be managed with fewer performers, though I should be sorry if it were not to be published exactly as it stands.

I must beg you to forgive the many corrections in what you have received; my old copyist cannot see, and the younger must first be trained; but at least the whole is free from errors.

With a violin and a piano-forte Quartett it is impossible to supply you immediately; but if you write to me betimes, in case you wish for both works, I will do all that lies in my power. Only I must add, that for a violin Quartett I cannot take less than fifty ducats; for a piano-forte Quartett seventy ducats, or I should be a loser; nay, I have been offered more than fifty ducats a-piece for violin Quartetts, but I never like to charge too high, and shall therefore expect no more than fifty ducats from you, which, in fact, is now the usual price. The other commission is really an extraordinary one, and I naturally accept that too, only I must beg you to let me know soon, if you wish to have it, otherwise, willingly as I give you the preference, it might become almost impossible. You know I have already written to you that precisely Quartetts have risen more in price than anything else; so that in the case of a great work this makes one quite ashamed of one's self. My circumstances, however, require that I should be more or less guided by profit. It is another affair with the work itself; there, thank God, I never think of profit, but only _how I write_.

There are two persons besides yourself who have each wished to have a Mass, since I intend to write at least three--the first has long been completed, the second is not, and the third is not yet begun. But in regard to you, I must have a certainty, that I may be insured against all events.

More another day; do not remit the money for the whole together till you receive advice from me that the work is ready to be sent off. I must conclude. I hope that your vexation is now at least somewhat abated.

Your friend,

BEETHOVEN.

No. II.

LETTER ON THE FIRST APPEARANCE OF BEETHOVEN'S FIDELIO.

_Hofrath Breuning to Dr. and Madame Wegeler._

Vienna, June 2, 1806.

Dear Sister and dear Wegeler,

* * * * *

As far as I remember, I promised in my last letter to write to you about Beethoven's Opera Fidelio. I know how interested you are about it, and I will fulfil my promise. The music is among the finest and most perfect that can be heard; the subject interesting--for it represents the liberation of a captive through his faithful and intrepid wife; but, in spite of all this, no work has occasioned Beethoven more trouble than this, and posterity alone will know how to value it. In the first place, it was given at a most unfavourable period--seven days after the entry of the French troops. The theatres were necessarily empty; and Beethoven, who at the same time found fault with some arrangement in the libretto, withdrew it after the third representation. Peace having been restored, he and I took it up again. I altered the whole of the libretto for him, which made it act better, less tiresomely, and quicker; and it was then given three times, with the greatest applause. Then his enemies about the theatre rose, and he, having given offence to many, particularly at the second representation, they have succeeded in preventing the further appearance of the work on the stage. Many difficulties had ere this been put in his way--one instance will suffice. He could not, at the second representation, obtain the reprinting of the bills with the altered title of Fidelio, so named in the French original, and published thus after the above-mentioned alterations.

Contrary to promise and expectation, the first title of "Leonora" was retained in the bills. Beethoven is the more hurt by this intrigue, as the non-performance of the opera, for which he is to be paid by a per centage at its production, throws him back considerably in his pecuniary arrangements, whilst the unworthy treatment has robbed him of so great a share of his zeal and love for the work that he will recover himself but slowly. I think I have on this occasion given him the most pleasure by writing and distributing in the theatre some lines on the opera, both in November, and at the production about the end of March. I will copy them here for Wegeler, knowing of old that he sets much value upon these things; and, having once made verses to celebrate his becoming Rector magnificus celeberrimæ universitatis Bonnensis, he may now see by comparison whether I am improved as a poet.

(Here follow two German poems.)

This copy has tired me out so completely, that I may fairly close this long epistle. I must only tell you that Lichnowsky has just sent the opera to the Queen of Prussia, and that I hope the Viennese will learn the value of what they possess, from its production at Berlin.

BREUNING.

No. III.

BEETHOVEN'S LETTERS TO MADAME BETTINE VON ARNIM.

[As I knew that my friend, Mr. H. F. Chorley, was in possession of copies of letters written by Beethoven to Madame Bettine von Arnim, I requested her permission to publish these highly-interesting documents, and received the following answer.--ED.]

Berlin, July 6, 1840.

Dear Mr. Moscheles,

You delight me beyond measure by asking me to consent to that, which of all earthly things I like best--namely, to be brought in contact with such of my cotemporaries as have become celebrated in literature and the fine arts. How happy, then, must I feel at becoming instrumental in the fulfilment of any wish of yours! Truly, there was no need of asking; I could not but feel honoured to be included in this memorial of Beethoven, and by a brother-spirit in the art too! I feel truly grateful that, while you are tracing the noblest features of Beethoven's glorious career, you will commemorate the happiness bestowed upon me by the greatest genius of his time. Misplaced, indeed, were that modesty, which could forbid my appearing in such a noble place, and under such distinguished auspices, and I confess that you are doing me a kindness in publishing the letters in question. Could I but render you some service in return! And pray let Mr. Chorley have his share of my gratitude for having made such a happy use of my communication.

Yours, &c.

BETTINE ARNIM.

1.

BEETHOVEN TO MADAME VON ARNIM.

Vienna, August 11, 1810.

Dearest Bettine,

Never was a fairer spring than this year's; this I say, and feel too, as in it I made your acquaintance. You must indeed have yourself seen, that in society I was like a fish cast on the sand, that writhes and struggles and cannot escape, until some benevolent Galatea helps it back again into the mighty sea; in very truth I was fairly aground. Dearest Bettine, unexpectedly I met you, and at a moment when chagrin had completely overcome me; but truly your aspect put it to flight; I was aware in an instant that you belong to a totally different world from this absurd one, to which, even with the best wish to be tolerant, it is impossible to open one's ears. I am myself a poor creature, and yet complain of others! this you will however forgive, with the kindly heart that looks out from your eyes, and with the intelligence that dwells in your ears;--at least your ears know how to flatter when they listen. Mine, alas! are a barrier through which I can have hardly any friendly intercourse with mankind, else, perhaps, I might have acquired a still more entire confidence in you. As it was, I could only comprehend the full expressive glance of your eyes, and this has so moved me that I shall never forget it. Divine Bettine, dearest girl!--Art! who comprehends the meaning of this word? with whom may I speak of this great divinity? how I love the recollections of the few days when we used to chat with each other, or rather correspond. I have preserved every one of the little scraps of paper on which your intelligent, precious, most precious, replies were given--thus, at least, may I thank my worthless ears that the best portion of our fugitive discourse is retained in writing.