The Committee has already issued an addr_Life of Beethoven Including his correspondence with his friends, numerous characteristic traits, and remarks on his musical works

send designs for the Monument before the 1st of March, 1841. From among

the designs or sketches that shall be received, the three best will be

selected by competent judges, and for each of them a premium of twenty

frederics d'or will be paid, upon condition that the authors of them,

if required, will have models made of them, upon a reduced scale, and

send them to the Committee.

In order to insure perfect impartiality in the selection of the designs,

the authors are requested to attach a motto to each, and to inclose the

same motto in an envelop, together with the name and the address of the

artist. The competition is open to artists of all countries. It is

necessary to add the following remarks, as they may have an influence

upon the work itself:--

1. It is decided that the Monument, or rather the statue, which is to

form the most essential part of it, shall be executed, not in marble,

but in bronze.

2. The sum which, at the commencement of next year, we shall have at our

disposal amounts to about 13,000 dollars, Prussian currency; in addition

to which contributions are announced, and confidently expected, from

several of the most important German and European capitals.--ED.

No. IX.

SALE OF BEETHOVEN'S MSS. AND MUSICAL LIBRARY.[211]

Vienna, March 16, 1828.

The sale of the lamented Beethoven's MSS. and musical library, which

lately took place here, excited uncommon interest among the lovers of

music, amateurs as well as professional men. The following are the heads

under which the articles were arranged in the catalogue:--

1. Fragments from Beethoven's musical portfolio, consisting of noted

paper, scraps of various themes, &c. 2. Fragments and sketches in a more

complete form. 3. Autographs of scores already published. 4. Autographs

of unpublished music. 5. Copies of various Symphonies, Choruses,

Overtures, Masses, &c., corrected by the composer's own hand. 6. Printed

music and theoretical works. 7. A small collection of works of general

literature. 8. A small collection of musical instruments. The contest

for several of the articles was warm and spirited, particularly between

the well-known music-sellers Artaria, Haslinger, and Steiner. More than

forty works, unknown to the public, were brought to the hammer, the

greater part of which are productions of Beethoven's earlier years. No

doubt the present possessors will, ere long, afford the world an

opportunity of enjoying these works of the lamented master. We observed

that the greater proportion of them became the property of Artaria,

after a severe contest with his brother publishers; several fetched

extraordinarily high prices. Besides a great many other articles,

Beethoven's last work, an unfinished Quintett, begun in November, 1826,

fell to the lot of Diabelli, who triumphantly bore it away, at a very

high price, from a host of competitors. The same gentleman also became

possessor of a Solo-Capriccio, of a Rondo for pianoforte and orchestra,

and of the English pianoforte which Beethoven had received as a present

from the Messrs. Broadwood. The gold medal which the composer had the

honour to receive from Louis XVIII. on receiving the copy of one of his

grand masses was bought by some anonymous collector. But by far the most

interesting article of the whole sale fell to the lot of M.

Haslinger--the collection of contrapuntic exercises, essays, and

finished pieces, which Beethoven wrote while under the tuition of his

master, the celebrated Albrechtsberger, all in his own handwriting, with

the interlineal corrections of that master, and his remarks on the

margin. It is in five thick volumes, which were evidently preserved with

great care. The struggle for the possession of this invaluable

relic--the fruit of Beethoven's first studies--was long and spirited;

but the stamina of M. Haslinger brought him through: after many a

fiercely-contested round, he was at length declared the victor, none of

his antagonists coming to time. We are happy to be able to state that

this collection of studies,[212] so interesting to the whole musical

world, is immediately to be placed in the hands of Kapellmeister

Seyfried, who is to prepare it for the press. M. Haslinger also became

the fortunate possessor of a pianoforte Trio, consisting of an Allegro,

Adagio, Finale, and Variations, composed while Beethoven filled the

place of organist in Cologne; of a short Sonata for four hands; of

several songs and other vocal pieces; of a small collection, entitled

_Zapfenstreiche für Türkische Musik_; of two violins, with the

possessor's seal on each; and lastly, of Beethoven's copy of the works

of Handel, Dr. Arnold's edition, in forty volumes folio. The latter, as

is well known, was presented to the lamented composer by his friend M.

Stumpff, of London, the possession of which tended so much to soothe

Beethoven during his last protracted illness. The mind and talents of

Handel were kindred to his own, and he was seen for hours hanging over

these volumes in rapture and forgetting his sufferings. Two other

competitors contended warmly for this prize--M. Gläser of Gotha, and Mr.

Schenk, the well-known composer of _Der Dorfbarbier_; but M. Haslinger

still retained his honours as champion of the field.[213] We must,

however, observe, that, warm as the opposition was between these

different opponents, the contest was still conducted with becoming

respect--not to say with a certain solemnity due to the relics of the

mighty dead. Some of the prices given astonished even the most

enthusiastic admirers of the composer, and are the most satisfactory

proofs of the deep zeal and love for the art predominant among us.

[Illustration: Nº 2.

First Sketches of the Vocal Subjects of Beethoven's 9th Symphony.]

[Illustration: musical notation]

SYSTEMATIC CATALOGUE

ALL THE ORIGINAL WORKS

LUDWIG VON BEETHOVEN,

AS PUBLISHED BY T. HASLINGER, FROM VIENNA.

A.--PIANO FORTE MUSIC.

I.--SONATAS.

FOR THE PIANO FORTE ALONE.

No. Op.

1. Sonata in E flat

2. " in D

3. " in F minor

4. " in F minor 2

5. " in A 2

6. " in C 2

7. " in E flat 7

8. " in C minor 10

9. " in F 10

10. " in D 10

11. " in C minor 13

12. " in E 14

13. " in G 14

14. " in B flat 22

15. " in A flat 26

16. " in C sharp minor 27

17. " in E flat 27

18. " in D 28

19. " in G 29

20. " in D minor 29

21. " in E flat 29

22. " in G minor 49

23. " in G 49

24. " in C 53

25. " in F 54

26. " in F minor 57

27. " in F sharp 78

28. " in G 79

29. " in E flat 81

30. " in E minor 90

31. " in A 101

32. " in B flat 106

33. " in E 109

34. " in A flat 110

35. " in C minor 111

II.--MISCELLANEOUS PIECES,

FOR THE PIANO FORTE ALONE.

1. Andante favori, in F 35

2. Bagatelles in F 33

3. " " 104

4. " " 126

5. Fantasie in G minor 77

6. Polonaise in C 89

7. Preludes in C 29

8. Rondo in C 51

9. " in G 51

10. " in G (for Pianoforte and Violin)

11. Dances (Seven Waltzes)

12. " (Six Waltzes)

13. " (Minuets and Waltzes)

III.--VARIATIONS

FOR THE PIANO-FORTE, WITH AND WITHOUT ACCOMPANIMENTS.

1.--_For the Piano-forte alone._

No. Op.

1. Variations (Thême de Marche)

2. " (Quant' è più bello)

3. " (Nel cor più non)

4. " (Nozze disturbate)

5. " (Waldmädchen)

6. " (Mich brennt ein)

7. " (Air russe)

8. " (Tändeln und Scherzen)

9. " (La Stessa)

10. " (Kind willst du)

11. " (Es war einmahl)

12. " (in a familiar style)

13. " (Vieni Amore)

14. " (God save the King) 25

15. " (Rule Britannia) 26

16. " (Thême orig.) 34

17. " (With a Fugue)

18. " (Thirty-two Variations) 36

19. " (Thême russe)

20. " (Waltz by Diabelli)

2.--_With Accompaniments._

21. Variations (Se vuol ballare) for Piano-forte and Violin

22. " (Air de Händel) for Piano-forte and Violoncello

23. " (Ein Mädchen)

24. " (Bey Männern)

25. " (Thême orig.) for Piano-forte, Violin and Violoncello

26. " (Air écossais) for Piano-forte and Flute

27. " (Air écossais)

28. " (Air autrichien)

29. " (Air écossais)

30. " (Air écossais)

31. " (Air écossais)

32. " (Air tirolien)

33. " (Air écossais)

34. " (Air russe)

35. " (Air écossais)

36. " (Air tirolien)

37. " (Air écossais)

38. " (Air russe)

39. " (Air écossais)

40. " (Air écossais)

41. " (Air écossais)

42. " (Schwestern von Prag) for Violin and Violoncello 121

IV.--PIECES

FOR TWO PERFORMERS ON THE PIANO-FORTE.

No. Op.

1. Sonata in D 6

2. Variations in C

3. Variations in D 27

4. Three Marches in C, E flat, and D 45

V.--DUETS

FOR PIANO-FORTE AND VIOLIN.

1. Sonata in D 12

2. " in A 12

3. " in E flat 12

4. " in A minor 23

5. " in F 24

6. " in A 30

7. " in C minor 30

8. " in G 30

9. " in A 47

10. " in G 96

VI.--DUETS

FOR PIANO-FORTE AND VIOLONCELLO.

1. Sonata in F 5

2. " in G minor 5

3. " in F (with Violoncello or French Horn) 17

4. " in A 69

5. " in C 102

6. " in D 102

VII.--TRIOS

FOR PIANO-FORTE, VIOLIN, AND VIOLONCELLO.

1. Trio in E flat 1

2. " in G 1

3. " in C minor 1

4. " in B flat (Clar.) 11

5. Trio in D (Viol.) 70

6. " in E flat 70

7. " in B flat 97

VIII.--QUARTETTS AND QUINTETTS

FOR THE PIANO-FORTE.

1. Quartett in E flat, for Piano-forte, Violin, Alto,

and Violoncello 16

2. Quintett in E flat, for Piano-forte, Hob. Clar.

Bassoon and Horn 16

IX.--CONCERTOS

FOR THE PIANO-FORTE, WITH ORCHESTRAL ACCOMPANIMENTS.

1. Concerto in C 15

2. " in B flat 19

3. " in C minor 37

4. " in C, for Piano-forte, Violin, Violoncello,

Concertante, and Orchestra 56

5. " in G 58

6. " in E flat 73

7. Fantasia, with Chorus 80

B.--VIOLIN MUSIC.

X.--TRIOS

FOR VIOLIN, ALTO, AND VIOLONCELLO.

No. Op.

1. Trio in E flat 3

2. " (Serenade) 8

3. " in G 9

4. " in D 9

5. " in C minor 9

6. " (Serenade) for Violin, Flute, and Alto

XI.--QUARTETTS

FOR TWO VIOLINS, ALTO, AND VIOLONCELLO.

1. Quartett in F 18

2. " in G 18

3. " in D 18

4. " in C minor 18

5. " in A 18

6. " in B flat 18

7. " in F 59

8. " in E minor 59

9. " in C 59

10. " in E flat 74

11. " in F minor 95

12. " in E flat 127

13. " in B flat 130

14. " in C sharp min. 131

15. " in A minor 132

16. " in F 135

17. Fugue in B flat 133

XII.--QUINTETTS

FOR TWO VIOLINS, TWO ALTOS, AND VIOLONCELLO.

1. Quintett in E flat 4

2. " in C 29

3. Fugue in D 137

XIII.--SEXTETTS AND SEPTETTS

FOR THE VIOLIN, ETC.

1. Septett in E flat for Violin, Alto, Violoncello,

Clarionet, Bassoon, Horn, and Double Bass 20

2. Sextett in E flat, for two Violins, Alto,

two Horns, and Violoncello 81

XIV.--CONCERTOS AND ROMANCES

FOR THE VIOLIN, WITH ORCHESTRAL ACCOMPANIMENTS.

1. Romance in G 40

2. " in F 50

3. Concerto in D 61

C.--VOCAL MUSIC.

XV.--SONGS AND BALLADS,

WITH ACCOMPANIMENT OF THE PIANO-FORTE.

No.

1. War Song of the Austrians (1797). _Kriegslied der Österreicher._

2. Farewell to the Citizens of Vienna. _Abschiedsgesang, &c._

3. Drinking Song. _Trinklied_

4. La Partenza

5. Tender Love. _Zärtliche Liebe_

6. Prayers (Six Sacred Songs of Gellert's), Op. 32

7. Love of our Neighbour. _Die Liebe des Nächsten_

8. Of Death. _Vom Tode_

9. Reverence of God through Nature. _Die Ehre Gottes aus der Natur_

10. God's Power and Providence. _Gottes Macht und Vorsehung_

11. Penitential Hymn. _Busslied_

12. Adelaide, Op. 48

13. The Blessing of Friendship. _Das Glück der Freundschaft_

14. The Free Man. _Der freye Mann_

15. Hymn of Sacrifice. _Opferlied_

16. Urian's Voyage Round the World, Op. 52 }

17. Fire-colour. _Feuerfarb_ }

18. The Song of Rest. _Das Liedchen von der Ruhe_ }

19. May Song. _Maygesang_ }

20. Molly's Parting. _Molly's Abschied_ } Eight Songs

21. Love. _Liebe_ }

22. Marmoth }

23. The Flower of St. John's Wort. _Das Blümchen }

Wunderhold_ }

24. The Call of the OEvail, Op. 24. _Der Wachtelschlag_

25. To Hope, Op. 32. _An die Hoffnung_

26. Longing (1st Melody), Op. 38. _Sehnsucht_

27. " (2nd Melody)

28. " (3rd Melody)

29. " (4th Melody)

30. Canon for the New Year. _Zum neuen Jahr_

31. Mignon (Six Songs and Melodies), Op. 57

32. New Love, new Life. _Neue Liebe, neues Leben_

33. Romance (Göthe's Faust)

34. Gretel's Warning

35. To the absent Lover. _An den fernen Geliebten_

36. The Contented Man. _Der Zufriedene_

37. Song of the Absent. _Lied aus der Ferne_

38. Longing. _Sehnsucht_

39. The Warrior's Adieu. _Des Kriegers Abschied_

40. In questa tomba

41. The Lover. _Der Liebende_

42. The Youth in a Foreign Land. _Der Jüngling in der Fremde_

43. Hope, Op. 82. _Hoffnung_

44. The Lover's Lament. _Liebes Klage_

45. L'Amante impatiente. _Stille Frage_

46. L'Amant. _Liebes-Ungeduld_

47. Joys of Life. _Lebens-genuss_

48. Pleasures of Melancholy }

49. Longing } Three Songs, Op. 38, by Göthe

50. With a coloured ribbon }

51. Remembrance (Mathison), Op. 72. _Andenken._

52. Elegy on the Death of a Bodle. _Elegie auf den Tod eines Pudels._

53. To a Mistress who wished to part. _Als die Geliebte sich

trennen wollte_

54. Merkenstein, Op. 100

55. The Spirit of the Bard. _Der Bardengeist_

56. The Call from the Mountain. _Ruf vom Berge_

57. Germania

58. To my beloved. _An die Geliebte_ (_von Stoll_)

59. So or so

60. Resignation

61. The Secret. _Das Geheimniss_

62. Silence. _Das Schweigen._ (Canon)

63. To Hope. _An die Hoffnung_, Op. 94

64. To a distant Mistress. _An die ferne Geliebte_

(a Series of Six Songs, by A. Jeitteles), Op. 98

65. The Man of his Word. _Der Mann von Wort_, by F. A.

Kleinschmid, Op. 99.

66. Merkenstein, near Baden, by J. B. Rupprecht, Op. 100.

67. Evening Hymn. _Abendlied_, Op. 103

68. O Hope. _O Hoffnung_

69. The Song of the Nightingale. _Der Gesang der Nachtigall_

70. Canon for Six Voices

71. Canon for Four Voices

72. Canon for Three Voices

73. The Kiss. _Der Kuss_, Op. 128

74. Drinking Song. _Trinklied_

XVI.--VOCAL MUSIC,

WITH PART OR THE WHOLE OF AN ORCHESTRAL ACCOMPANIMENT.

No. Op.

1. Scena e Aria: Ah perfido 46

2. Germania

3. It is achieved. _Es ist vollbracht_

4. Scotch Songs, Book 1st } With Accompaniment for Piano

5. " " Book 2nd } Forte, Violin, and Violoncello 108

6. " " Book 3rd }

7. Calm at Sea and prosperous Voyage 112

8. March and Chorus from the Ruins of Athens 114

9. Terzett: Tremate, empi, tremate! 116

10. Elegiac Song 118

11. Hymn of Sacrifice, by Mathison, for Solo and Chorus 121

12. Hymn of Alliance, by Göthe, for two Solo Voices and Chorus 122

XVII.--MASSES, ORATORIOS, OPERAS.

No. Op.

1. Mass in C, for Four Voices and Orchestra 86

2. " in D, for Four Voices and Orchestra 123

3. Christ on the Mount of Olives, Oratorio 85

4. The Glorious Moment, Cantata

5. Fidelio, Grand Opera

6. Egmont, Tragedy (Overture, Entreacts and Songs) 84

D.--ORCHESTRAL MUSIC.

XVIII.--SYMPHONIES.

1. Symphony in C 21

2. " in D 36

3. " eroica in E flat 55

4. " in B flat 60

5. " in C minor 67

6. " Pastorale in F 68

7. " in A 92

8. " in F 93

9. " Choral in D minor 125

10. Wellington's Victory in the Battle of Vittoria 91

XIX.--OVERTURES

FOR THE ORCHESTRA.

1. Overture (Prometheus) 43

2. " (Coriolanus) 62

3. " (Egmont) 84

4. " (Leonore) 87

5. " (Fidelio)

6. " (Ruins of Athens) 113

7. " (The Emperor's Name Day) 115

8. " (King Stephen) 117

9. " (Inauguration of the Theatre) 124

10. " (Characteristique) 138

XX.--DANCES AND BALLETS

FOR THE ORCHESTRA.

1. Minuets in E flat

2. " in D

3. German Dances in C

4. Waltzes in D

5. " in D

6. Prometheus, Ballet

XXI.--MUSIC

FOR WIND INSTRUMENTS.

No. Op.

1. Trio for two Hoboes and English Horn 66

2. Sestetto for two Clarionets, two Bassoons, and two Horns 71

3. Harmonies

4. Equale for four Trombones

5. Marches for Military Bands.

MESSRS. CRAMER AND CO. ARE PUBLISHING

A COMPLETE EDITION OF BEETHOVEN'S WORKS,

EDITED BY J. MOSCHELES.

THE FOLLOWING HAVE ALREADY APPEARED:--

No. Opera. Key

1. Sonata Pathetique, dedicated to Prince Lichnowski 13 C minor.

2. Grand Sonata, dedicated to ditto 26 A flat.

3. Sonata, No. 1, Op. 29 29 G.

4. Ditto, No. 2, ditto 29 D minor.

5. Ditto, No. 3, ditto 29 A flat.

6. Grand Sonata, dedicated to Count de Browne 22 B flat.

7. Sonata, dedicated to Mademoiselle Juliette

Guicciardo, No. 1 27 C minor.

8. Sonata, dedicated to the Princess de Lichtenstein,

No. 2 27 E flat.

9. Sonata (Pastorale), dedicated to M. Sonnenfells 28 D.

10. Sonata 90 E minor.

11. Ditto 54 F.

12. Ditto 110 A flat.

13. Ditto, dedicated to the Countess of Brunswick 78 F # major.

14. Sonata, dedicated to Haydn, No. 1 2 F minor.

15. Ditto, ditto, No. 2 2 A.

16. Ditto, ditto, No. 3 2 C.

17. Grand Sonata, dedicated to Madame Antonia

de Brentano 111 C minor.

18. Grand Sonata 7 E flat.

19. Sonata, No. 1 49 G minor.

20. Ditto, No. 2 49 G.

21. Sonata, dedicated to Madame la Comtesse de Browne,

No. 1 10 C minor.

22. Ditto, dedicated to ditto, No. 2 10 F.

23. Ditto, dedicated to ditto, No. 3 10 D.

24. Grand Sonata, dedicated to Count de Waldstein 53 C.

25. Sonata Appassionata, dedicated to Count de Brunswic F minor.

26. Sonata Caracteristique 81 E flat.

27. Sonata, No. 1 14 E.

28. Ditto, No. 2 14 G.

29. Grand Sonata 109 E.

30. Grand Sonata, Part I. 106 B flat.

31. Ditto, Part II. 106 B flat.

32. Sonata 101 A.

33. Sonata 79 G.

34. Fantasia 77 G minor.

35. Andante 35 F.

36. Variations e Finale alla Fuga E flat.

SONATAS FOR PIANO AND VIOLIN

1. Grand Sonata, No. 1, dedicated to Salieri 12 D.

2. Sonata, No. 2, dedicated to ditto 12 A.

3. Ditto, No. 3, dedicated to ditto 12 E flat.

4. Sonata, dedicated to Monsieur le Comte Maurice

de Fries, No. 1 23 A minor.

5. Sonata, dedicated to ditto, No. 2. 23 F.

6. Sonata, dedicated to the Emperor of Russia, No. 1 30 A.

7. Ditto, dedicated to ditto, No. 2 30 C minor.

8. Ditto, dedicated to ditto, No. 3 30 G.

9. Grand Sonata, dedicated to Prince Rudolphe 96 G.

10. Grand Sonata, dedicated to M. Kreutzer 47 A.

SONATAS FOR PIANO AND VIOLONCELLO.

1. Grand Sonata, No. 1 5 F.

2. Sonata, No. 2. 5 G.

3. Sonata 17 F.

4. Ditto 69 A.

5. Ditto, No. 1 102 C.

6. Ditto, No. 2 102 D.

TRIOS FOR PIANO, VIOLIN, AND VIOLONCELLO.

1. Trio, No. 1 1 E flat.

2. Ditto, No. 2 1 G.

3. Ditto, No. 3 1 C minor.

4. Trio 11 B flat.

5. Trio (from the Septetto) 38 E Flat.

6. Ditto, No. 1 70 D.

7. Ditto, No. 2 70 E flat.

8. Ditto 97 B flat.

CONCERTOS.

No. Opera. Key.

1. Concerto 15 C.

2. Ditto, dedicated to Monsieur Charles Nikl 19 B flat.

3. Concerto, dedicated to Prince Louis Ferdinand

de Prusse 37 C minor.

4. Concerto 58 G.

5. Concerto, dedicated to Archduke Rudolphe 73 E flat.

6. Fantasia with Chorus 80 C minor.

AIRS WITH VARIATIONS.

1. Air Russe

2. Nel cor più

3. Une Fièvre

4. Air from the Ballet of Le Nozze

5. La Stessa la Stessissima

6. Swiss Air

(TO BE CONTINUED.)

Mount of Olives (Oratorio)--English Version. By Thos. Oliphant,

Esq. The Choral Parts to be had separately.

Six Songs, with English Words. By Thos. Oliphant, Esq.

Fidelio, a Grand Opera.

*** Publishing by Subscription, a complete Edition of the Quatuors

for two Violins, Tenor, and Violoncello.

THE END.

London: Printed by WILLIAM CLOWES and SONS, Stamford Street.

FOOTNOTES:

[1] Delivered in the year 1824, in Carlsruhe, Darmstadt, Francfort,

Mayence, Stuttgart, and Tübingen; they appeared in print in 1826.

[2] It was that of 1802.

[3] It must be obvious that, in this division, I do not mean to assert

that Beethoven's mental development admits of the like limitation, or is

tacitly comprehended under it. To pretend to fix precise limits to that

would be a bold attempt, inasmuch as his works were not published in the

order in which they were composed. I shall recur to this subject in

treating of the first period.

[4] At page 81 of his biographical particulars, Ries, in his account of

the meeting of Beethoven and Steibelt at the house of Count Fries, where

Steibelt performed a "studied Fantasia brillante on a theme from a Trio

of Beethoven's," tells us, "This gave great offence to the admirers of

Beethoven, as well as to that composer himself; he was next called to

the piano to extemporize: he went in his usual, I might say, rude way,

to the instrument, as though half-pushed towards it." But hold!--who

could help being revolted also on reading this instance of Beethoven's

rudeness from the pen of his pupil and friend, and reasoning thus:--

Rudeness is the highest degree of ill-breeding. If he, from his

thirtieth to his thirty-fifth year, "usually behaved rudely," even in

the higher circles--as we are told in the anecdote related by Ries, page

92--he was and must have been rude all his life, even though he had

intercourse with an Archduke of Austria. At that period of life

Beethoven had arrived when Ries was in Vienna. What then could be

alleged in excuse of Beethoven, if Ries were right? But how many of

those friends and admirers of the illustrious deceased, who knew him

longer and had opportunities of forming a more correct opinion of him

than Ries, will solemnly protest against such a charge! Is it fair to

publish to the world a momentary fit of ill-humour in any man, be he who

he may, that it may serve as an authentic source for estimating his

character? and especially in a man who belongs to remote posterity, who

deserves to be recommended in so many respects to younger artists as a

model worthy of imitation? Or, let me ask, is it right to drag before

the tribunal of the public what has been said and done in unguarded

moments among friends and acquaintance? That maxim is in general

entirely false which says that "about great men anything and everything

may be told: it can do them no harm." Without taking into account that

this maxim is in itself very relative, the character of every man,

without any reference to his mental qualities, is the point which, in a

portraiture of him, should be treated with most tenderness, at the same

time without derogating in the slightest degree from the truth.

[5] Dr. Wegeler published in consequence a copy of Beethoven's baptismal

"Extract, Church Register, St. Remigii, at Bonn.

"Anno millesimo septingentesimo septuagesimo, die decima septima

Decembris, baptizatus est _Ludovicus_, Domini Johannis van Beethoven et

Helenae Keverichs, conjugum, filius legitimus: Patrini: Dominus

Ludovicus van Beethoven, et Gertrudis Müllers, dicta Baums.

"Witness to the truth of the above extract,

"THE BURGOMASTER.

(Signed) "WINDECK.

"_Bonn, 28th June, 1827._"

[6] When M. Brockhaus announced the eighth edition of the

"Conversations-Lexicon," I wrote to him, on the 17th of February, 1833,

calling his attention to that fable, and requesting him to omit the

passage relative to Beethoven's parentage in the new edition, which he

complied with.

[7] The same Count von Waldstein to whom Beethoven dedicated his grand

Sonata, Op. 53.

[8] Or, as Wegeler gives it, like the "iniquæ mentis asellus" of

Horace.--ED.

[9] See my note, p. 228.--ED.

[10] M. Ries was treated in the same manner, as he told me, while under

Beethoven's tuition. "I played," said Ries to me, "while Beethoven

composed or did something else; and it was very rarely that he seated

himself by me and so remained for half an hour." Ries tells a different

story in his publication.

[11] How happens it that Beethoven, sensible of the impropriety of this

system of education, should not have avoided it in bringing up his

nephew? We shall have occasion to recur to this subject in the proper

place.

[12] "In order to become a good composer, a person should have studied

the theory of harmony and the art of counterpoint from the age of seven

to eleven, that when the imagination and feeling awake, he may have

accustomed himself to invent according to rule." How absurd and untrue

this assertion is, in every respect, I there showed in the proper place;

and likewise that Beethoven thought precisely the reverse, especially on

instruction in counterpoint, and that he expressed himself clearly and

explicitly on that subject.

[13] See Supplement No. IV., Vol. II.

[14] And yet M. Ignatz von Seyfried, in the biographical particulars of

Beethoven appended to the work published by him and M. Haslinger, with

the title of "Beethoven Studien," does maintain the contrary, which Dr.

Wegeler has shown to be wholly unfounded.

[15] This Sonata, quasi Fantasia, Op. 27, is known in Austria by the

inappropriate appellation of "Moonshine Sonata," which is meant to

designate nothing more than that enthusiastic period of Beethoven's

passion.

[16] For the correction of each of his larger works Beethoven took, upon

an average, one-third of the time that had been occupied in its

composition. This observation I had occasion to make from many of his

works. His corrected scores show how he proceeded in general in the

labour of revising and improving.

[17] See Supplement No. I., Vol. 1.

[18] Printed in the _Neue Zeitschrift für Musik_, No. 19, of the year

1837. For the series of Beethoven's letters to the music-publishers of

Leipzig, see Supplement No. I., Vol. 1.

[19] Beethoven was not accustomed to ask singers if they could execute

what he had written. The consequence was that these made arbitrary

alterations without consulting him.

[20] Of the first members of that Quartett, which belongs to the history

of the art, M. Sina is the only one now living, and in Paris. M. Franz

Weiss died shortly before Beethoven, M. Schuppanzigh soon after him, and

M. Linke a few years since.

[21] The consequences of this excess must inevitably follow, and the

gigantic enterprises of this kind that are so frequently seen and heard

of, resting on insecure foundations, will, by degrees, fall of

themselves, after doing much more injury than benefit to the art.

[22] Count Franz of Brunswick, Baron J. Gleichenstein, Baron Pasqualati,

M. de Zmeskall, M. and Madame Streicher, and Moritz Count von

Lichnowsky.

[23] This document, in Beethoven's own handwriting, has lately been left

in charge of Messrs. Cramer and Co., to be disposed of for the benefit

of a female relative of Beethoven's, who hopes to derive some advantage

from its sale.--ED.

[24] The whole tenor of this will, or rather memorandum addressed to his

brothers, attests the state of deep melancholy into which Beethoven had

fallen on account of his deafness--a state which, owing to the same

cause, was of frequent recurrence. That throughout this paper Beethoven

should not have mentioned the name of his second brother, Johann, and

only marked it with dots, is singularly striking; since this brother, as

we have just seen, had recently come to Vienna, and had scarcely begun

to take any part in the occupations and other concerns of the great

composer.

[25] The noble-minded Count Moritz Lichnowsky, whose devotedness to the

interests of Beethoven the latter acknowledged by the dedication of two

works,--the Variations Op. 35, and the Sonata Op. 90 (E minor), died in

December, 1838, in Vienna. He was the last of that set so remarkable in

the history of the art, which used to assemble at the house of his

brother, the Prince.

[26] Such is the account given by Count Moritz Lichnowsky, who, with

Ferdinand Ries, witnessed the circumstance.

[27] Is not this meant to be--"Per festeggiare la memoria d'un grand'

uomo?"--ED.

[28] The originally French libretto was translated into German by Joseph

Sonnleithner.

[29] In the third period I shall have something more to say about it in

the proper place.

[30] Refer to Breuning's letter to Dr. and Mad. Wegeler. Supplement No.

II., Vol. II.

The circumstance which occurred at the house of Prince Lichnowsky, on

occasion of the alteration made in this Opera in 1807, which M.

Röckel,{*} then engaged as tenor singer at the Theater an der Wien (with

whom I am myself well acquainted), afterwards related to M. Ries in

London, and which the latter communicates in his "_Notizen über

Beethoven_," (p. 105), is interesting and authentic. Not less worthy of

notice is Breuning's letter of the 20th of June, 1806, to Dr. Wegeler

(p. 62) on the fortunes of the opera of "Fidelio" at its first

representation. Count Moritz Lichnowsky was one of the company, in which

Beethoven opposed with might and main the omission of a single bar, and

gave all present a great deal of trouble.

{*} The following note from Wegeler's Notizen is, I think, not misplaced

here:--

"Dear Röckel,--Try and do your best with _Milder_" [Ma dame Milder, for

whom the part of Fidelio was written--ED.], "and pray tell her you ask

her to-day in my name, that this early invitation may prevent her

singing _anywhere else_. To-morrow I mean to come myself 'to kiss the

hem of her garment.' Do not forget _Marconi_" [a celebrated Contra-Alto

of the time.--ED.], "and, above all, do not be angry with me for thus

overburthening you.

"Ever yours,

"BEETHOVEN."

[31] It is said that, in the rehearsals of his "Christ on the Mount of

Olives," quarrels took place from similar causes between Beethoven and

the singers.

[32] Mozart experienced similar, nay still more painful mortifications,

calumnies, and even depreciation of his abilities, on account of his

Opera '_Die Entführung aus dem Serail_,' from the singers and other

envious creatures, at the head of whom was his professional colleague M.

Salieri. We learn from the biography of that unrivalled composer,

published by M. von Nissen and Mozart's widow, that those cabals and

persecutions were carried much further on occasion of his succeeding

opera '_Figaro's Hochzeit_,' so that, on the conclusion of the second

act, Mozart, filled with indignation, went to the Emperor Joseph in his

box, and complained of the singers, who were brought back to their duty

by a severe reprimand from the monarch. Such baseness and such malice,

which incessantly persecuted the immortal Mozart, even after his death,

and which found means to deprive his family, left in necessitous

circumstances, of the promised support of the Emperor Leopold, are, and

will perhaps for ever, remain unparalleled.

[33] It were sincerely to be wished that, in future editions of

Beethoven's works, the dedications should never be omitted, as is so

frequently the case. It was in some instances affection, in others

gratitude, which gave our artist occasion to name those who were loved

and esteemed by him; and with many of these dedications not unimportant

circumstances are associated. Beethoven meant thereby to pay a real

tribute of honour and respect to his friends and patrons, without

harbouring the slightest expectation of being presented with rings,

shirt-pins, gold snuff-boxes, and watches, for his public testimonies of

esteem.

[34] At p. 83, M. Ries speaks of the performance of the _Fantasia for

the Piano-forte_, Op. 80, in which the clarinet-player, by overlooking a

repetition, occasioned an interruption. M. Ries proceeds thus with his

narrative:--"Beethoven started up furiously, turned himself round, and

abused the members of the orchestra in the grossest terms and in so loud

a tone as to be heard by the whole audience. At length, he cried 'Begin

again!' The theme was re-commenced; each performer fell in at the proper

place, and the result was splendid. But when the concert was over, the

performers, remembering too well the honourable epithet which Beethoven

had publicly applied to them, fell into the most vehement rage, as

though the affront had only just then been offered; and vowed never to

play again if Beethoven was in the orchestra."

The assertion that Beethoven loudly desired that Fantasia to be

repeated, on account of the blunder of the first clarinet, is true

enough; but, as for any abuse of the members of the orchestra, who were

not in fault, and that, too, "in the grossest terms," M. Fr. Clement,

the able orchestra-director, with whom Beethoven brought out his

Fidelio, the fourth, fifth, and sixth Symphonies, and that Fantasia, who

still occupies his post at the Theater an der Wien, knows nothing about

it.{**} Other members of the orchestra at that time, who are still

living, know just as little of the matter, and protest against the

statements of M. Ries. The latter was not present when Fidelio was

brought out, for he was then on his way to Russia, and those Symphonies

mentioned by him, p. 83, were not composed by Beethoven till several

years afterwards, any more than the Fantasia in question.

At p. 84, M. Ries thus continues:--"A similar scene is said to have once

occurred, but the orchestra resolved not to put up with the affront, and

peremptorily insisted that he should not conduct. Accordingly, during

the rehearsal, Beethoven was obliged to stay in an adjoining room, and

it was a long time before this quarrel was made up."

Not a creature in Vienna has any recollection of such a scene, and,

during my residence of twenty-three years in that city, I never heard a

syllable on that subject.

{**} I remember having myself been present at the performance in

question, seated in a corner of the gallery in the Theater an der Wien:

during the last movement of the Fantasia I perceived that--like a

carriage run away with down hill--an overturn was inevitable. Almost

immediately after, it was, that I saw Beethoven give the signal for

stopping. His voice was not heard; but he had probably given directions

where to begin again--and after half a moment's respectful silence on

the part of the audience--the orchestra re-commenced, and the

performance proceeded without further mistake or stoppage.

To those who are acquainted with the work, it may be interesting to know

the precise point at which the mistake occurred. It was in the passage

where, for several pages, every three bars make up a triple rhythm, as

shown on the following page. This peculiarly-constructed rhythm has,

until the present time, like most of Beethoven's characteristics,

remained his undisputed property.--ED.

[35] The house of Count Franz von Brunswick at Pesth had been for many

years a seminary of the true and pure professional faith, without

prepossession in favour of any classic. None of the seductive false

doctrines of the present day could gain admittance there. To describe

the part taken in these pursuits by the countess, who is his pupil, and

the most exquisite player on the piano-forte that I ever heard, would

require a separate essay, in order to do justice to her performances and

to their effects upon her auditors. Let us hope that these abilities may

be hereditary in that remarkable family.

A family akin for talents and abilities to that of Brunswick, and whose

pursuits have taken the same direction, is still to be found at

Geilenkirchen, in the province of Rhenish Prussia. The house of M. Max.

Flemming, merchant, of Geilenkirchen, near Aix-la-Chapelle, exactly

resembles in this point that of the Hungarian magnate. An intimate

acquaintance with, and profound comprehension of, the musical classics

were transmitted by the parents to the children in a degree that is

rarely witnessed in our times, when domestic music in particular has

universally assumed an ephemeral character, and aims only at tickling

the senses. Thus in that house too a temple has been erected to

Beethoven's Muse, and its service heightens the happiness of the

interesting inmates in a manner that must inspire the intelligent

observer with the warmest interest for persons holding forth so rare an

example.

[36] Among other scenes between Beethoven, his brothers, and friends, M.

Ries describes with graphic minuteness one which is particularly to the

point (p. 88).--See Supplement No. IV., Vol. II.

[37] "During the short bombardment of Vienna by the French, in 1809,

Beethoven was excessively alarmed; he passed most of the time in a

cellar at his brother Caspar's, where, besides, he covered his head with

pillows that he might not hear the cannon."--Such are the words of M.

Ries, p. 121 of his '_Notizen_.'

[38] To this sum the Archduke Rudolph contributed 1500 florins, Prince

Lobkowitz 700, and Prince Ferdinand Kinsky 1800.

[39] See Supplement No. VI., Vol. I.

[40] Bettina relates, in her letter of the 28th of May, to Göthe, that

she committed to writing Beethoven's remarks on art, &c., which he made

the day before in a walk with her, and that she gave him them to read,

upon which he asked her in astonishment--"And did I indeed say all

this?--Then I must certainly have had a _raptus_!"

[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

[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 [Illustration: musical note], or [Illustration:

musical note]. 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: [Illustration: musical note, half note]

= 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.

[195] When I left England I went to live at Godesberg, near Bonn, one of

the most beautiful parts on the Rhine. I had invited Beethoven to come

and see me there; and had pressed him to live at once with me, and in

his native home, for some little time.--RIES.

[196] From the Harmonicon, October, 1824.

[197] Most of our readers will concur with us in thinking this a most

eccentric mode of colouring musically so gentle a word.

[198] This passage has puzzled many a leader and conductor, and many

have altered it thus:--

[Illustration: musical notation]

Whilst in the score it is written,--

[Illustration: musical notation] ED.

[199] Beethoven being in the box of a much esteemed lady during the

performance of "La Molinara," she said, on hearing the well-known "Nel

cor più," "I had some variations on this subject, but have lost them."

Beethoven, the same night, wrote the six Variations on this subject, and

the next morning sent them to the lady, writing upon them, "Variazioni,

&c., perdute da----, retrovate du Luigi v. B." They are so easy that the

lady might well have played them at first sight.--WEGELER.

[200] As it proves to be in our days, where it is always the one most

admired.

[201] Consequently after his hearing had been impaired.--WEGELER.

[202] _Manu propria_, with his own hand.

[203] A music-seller at Vienna.

[204] A village in a romantic country, about three miles from Vienna.

[205] Towards the latter end of 1826.

[206] In answer to the above, I informed Mr. Rau, in the name of the

Philharmonic Society, that the money having been sent for the express

purpose, and on condition that Beethoven himself should make use of it,

the Society would, now that the event had taken place before the end in

view could be achieved, expect the money to be returned.--ED.

[207] The above-mentioned enclosure from the guardian (Mr. Hotschilar,

imperial notary) urges still more forcibly all that Mr. Rau hints

confidentially, with the request that I would lay before the

Philharmonic Society the case of young Beethoven (then under age), and

earnestly solicit that body not to reclaim the one thousand florins,

but, in honour of the great deceased, allow the small patrimony, which

he spared no sacrifice in securing for his nephew, to remain untouched.

I complied with Mr. Hotschilar's request, and the Society gave its tacit

consent by relinquishing all further proceedings: thus doing homage to

the great man even in death.--ED.

[208] Given in the following pages.--ED.

[209] The original MS. of this curious production is in the possession

of Mr. Haslinger, and prized as a relic of no common kind.--ED.

[210] This gentleman, who stands in high repute as a professor of music

at Bonn, has made himself so meritoriously known as a teacher of harmony

and counterpoint, that the honour of instructing H. R. H. Prince Albert,

while at the University of Bonn, in that branch of the art, devolved

upon him.

[211] From the Harmonicon, April, 1828.

[212] This work has indeed been published.--ED.

[213] M. Schindler has informed us that this valuable collection was

bought by Haslinger for 100 florins, about £10 sterling--a price which

would not seem to bespeak much spirit in the rival bidders; and the

writer of the above account of the sale adds, in a note, that the

purchaser almost immediately advertised it for sale in the Leipzig

Musical Gazette, price 450 florins, or £45.--TRANSLATOR.

Life of Beethoven Including his correspondence with his friends, numerous characteristic traits, and remarks on his musical works · 第 6 / 6 章

The Committee has already issued an address to artists, inviting them to