(Hofer's widow), sang the part of Pizarro at the first performance of
_Fidelio_, Nov. 20, 1805, and also at a later period. Seyfried was at that
time Kapellmeister at the Theatre "an der Wien."]
42.
TESTIMONIAL FOR C. CZERNY.
Vienna, Dec. 7, 1805.
I, the undersigned, am glad to bear testimony to young Carl Czerny having
made the most extraordinary progress on the pianoforte, far beyond what
might be expected at the age of fourteen. I consider him deserving of all
possible assistance, not only from what I have already referred to, but
from his astonishing memory, and more especially from his parents having
spent all their means in cultivating the talent of their promising son.
LUDWIG VAN BEETHOVEN.
43.
TO HERR RÖCKEL.[1]
DEAR RÖCKEL,--
Be sure that you arrange matters properly with Mdlle. Milder, and say to
her previously from me, that I hope she will not sing anywhere else. I
intend to call on her to-morrow, to kiss the hem of her garment. Do not
also forget Marconi, and forgive me for giving you so much trouble.
Yours wholly,
BEETHOVEN.
[Footnote 1: Röckel, in 1806 tenor at the Theatre "an der Wien," sang the
part of Florestan in the spring of that year, when _Fidelio_ was revived.
Mdlle. Milder, afterwards Mdme. Hauptmann, played Leonore; Mdme. Marconi
was also prima donna.]
44.
TO HERR COLLIN,[1] COURT SECRETARY AND POET.
MY ESTEEMED COLLIN,--
I hear that you are about to fulfil my greatest wish and your own purpose.
Much as I desire to express my delight to you in person, I cannot find time
to do so, having so much to occupy me. Pray do not then ascribe this to any
want of proper attention towards you. I send you the "Armida"; as soon as
you have entirely done with it, pray return it, as it does not belong to
me. I am, with sincere esteem,
Yours,
BEETHOVEN.
[Footnote 1: Collin, Court Secretary, was the author of _Coriolanus_, a
tragedy for which Beethoven in 1807 wrote the celebrated Overture dedicated
to that poet. According to Reichardt, Collin offered the libretto of
_Bradamante_ to Beethoven in 1808, which Reichardt subsequently composed.
This note evidently refers to a _libretto_.]
45.
TO HERR GLEICHENSTEIN.[1]
I should like very much, my good Gleichenstein, to speak to you this
forenoon between one and two o'clock, or in the afternoon, and where you
please. To-day I am too busy to call early enough to find you at home. Give
me an answer, and don't forget to appoint the place for us to meet.
Farewell, and continue your regard for your
BEETHOVEN.
[Footnote 1: Probably in reference to a conference with regard to a
contract for the publication of his works, Op. 58, 59, 60, 61, and 62, that
Beethoven had made on the 20th April, 1807, with Muzio Clementi, who had
established a large music firm in London; it was also signed by Baron
Gleichen.
Beethoven's first intention was to dedicate Op. 58 to him, which is evident
from a large page in Schindler's work, on which is written in bold
characters, by the master's own hand, "_Quatrième Concerto pour le Piano,
avec accompagnement, etc., dédié à son ami Gleichenstein_," &c. The name of
the Archduke Rudolph had been previously written, and was eventually
adopted, and Gleichenstein afterwards received the dedication of the Grand
Sonata with violoncello, Op. 69.]
46.
TO THE DIRECTORS OF THE COURT THEATRE.[1]
Vienna, December, 1807.
The undersigned has cause to flatter himself that during the period of his
stay in Vienna he has gained some favor and approbation from the highest
nobility, as well as from the public at large, his works having met with an
honorable reception both in this and other countries. Nevertheless he has
had difficulties of every kind to contend against, and has not hitherto
been so fortunate as to acquire a position that would enable him _to live
solely for art_, and to develop his talents to a still higher degree of
perfection, which ought to be the aim of every artist, thus ensuring future
independence instead of mere casual profits.
The mere wish _to gain a livelihood_ has never been the leading clew that
has hitherto guided the undersigned on his path. His great aim has been the
_interest of art_ and the ennobling of taste, while his genius, soaring to
a higher ideal and greater perfection, frequently compelled him to
sacrifice his talents and profits to the Muse. Still works of this kind won
for him a reputation in distant lands, securing him the most favorable
reception in various places of distinction, and a position befitting his
talents and acquirements.
The undersigned does not, however, hesitate to say that this city is above
all others the most precious and desirable in his eyes, owing to the number
of years he has lived here, the favor and approval he has enjoyed from both
high and low, and his wish fully to realize the expectations he has had the
good fortune to excite, but most of all, he may truly say, from his
_patriotism as a German_. Before, therefore, making up his mind to leave a
place so dear to him, he begs to refer to a hint which the reigning Prince
Lichnowsky was so kind as to give him, to the effect that the directors of
the theatre were disposed to engage the undersigned on reasonable
conditions in the service of their theatre, and to ensure his remaining in
Vienna by securing to him a permanent position, more propitious to the
further exercise of his talents. As this assurance is entirely in
accordance with the wishes of the undersigned, he takes the liberty, with
all due respect, to place before the directors his readiness to enter into
such an engagement, and begs to state the following conditions for their
gracious consideration.
1. The undersigned undertakes and pledges himself to compose each year at
least _one grand opera_, to be selected by the directors and himself; in
return for this he demands a _fixed salary_ of 2400 florins a year, and
also a free benefit at the third performance of each such opera.
2. He also agrees to supply the directors annually with a little _operetta_
or a _divertissement_, with choruses or occasional music of the kind, as
may be required, _gratis_; he feels confident that on the other hand the
directors will not refuse, in return for these various labors, to grant him
_a benefit concert_ at all events once a year in one of the theatres.
Surely the above conditions cannot be thought exorbitant or unreasonable,
when the expenditure of time and energy entailed by the production of an
_opera_ is taken into account, as it entirely excludes the possibility of
all other mental exertion; in other places, too, the author and his family
have a share in the profits of every individual performance, so that even
_one_ successful work at once ensures the future fortunes of the composer.
It must also be considered how prejudicial the present rate of exchange is
to artists here, and likewise the high price of the necessaries of life,
while a residence in foreign countries is open to them.
But in any event, whether the directors accede to or decline this present
proposal, the undersigned ventures to request that he may be permitted to
give a concert for his own benefit in one of the theatres. For if his
conditions be accepted, the undersigned must devote all his time and
talents to the composition of such an opera, and thus be prevented working
in any other way for profit. In case of the non-acceptance of these
proposals, as the concert he was authorized to give last year did not take
place owing to various obstacles, he would entreat, as a parting token of
the favor hitherto vouchsafed to him, that the promise of last year may now
be fulfilled. In the former case, he would beg to suggest _Annunciation
Day_ [March 25.] for his concert, and in the latter a day during the
ensuing Christmas vacation.
LUDWIG VAN BEETHOVEN, M.P.
[_Manu propria._]
[Footnote 1: This application was fruitless. See Reichardt's _Vertraute
Briefe_. "These two (Lobkowitz and Esterhazy) are the heads of the great
theatrical direction, which consists entirely of princes and counts, who
conduct all the large theatres on their own account and at their own risk."
The close of this letter shows that it was written in December.]
47.
TO COUNT FRANZ VON OPPERSDORF.[1]
Vienna, Nov. 1, 1808 [_sic!_].
MY DEAR COUNT,--
I fear you will look on me with displeasure when I tell you that necessity
compelled me not only to dispose of the symphony I wrote for you, but to
transfer another also to some one else. Be assured, however, that you shall
soon receive the one I intend for you. I hope that both you and the
Countess, to whom I beg my kind regards, have been well since we met. I am
at this moment staying with Countess Erdödy in the apartments below those
of Prince Lichnowsky. I mention this in case you do me the honor to call on
me when you are in Vienna. My circumstances are improving, without having
recourse to the intervention of people _who treat their friends
insultingly_. I have also the offer of being made _Kapellmeister_ to the
King of Westphalia, and it is possible that I may accept the proposal.
Farewell, and sometimes think of your attached friend,
BEETHOVEN.
[Footnote 1: The fourth Symphony is dedicated to Count Oppersdorf.]
48.[1]
I fear I am too late for to-day, but I have only now been able to get back
your memorial from C----, because H---- wished to add various items here
and there. I do beg of you to dwell chiefly on the great importance to me
of adequate opportunities to exercise my art; by so doing you will write
what is most in accordance with my head and my heart. The preamble must set
forth what I am to have in Westphalia--600 ducats in gold, 150 ducats for
travelling expenses; all I have to do in return for this sum being to
direct the King's [Jerome's] concerts, which are short and few in number. I
am not even bound to direct any opera I may write. So, thus freed from all
care, I shall be able to devote myself entirely to the most important
object of my art--to write great works. An orchestra is also to be placed
at my disposition.
N.B. As member of a theatrical association, the title need not be insisted
on, as it can produce nothing but annoyance. With regard to the _Imperial
service_, I think that point requires delicate handling, and not less so
the solicitation for the title of _Imperial Kapellmeister_. It must,
however, be made quite clear that I am to receive a sufficient salary from
the Court to enable me to renounce the annuity which I at present receive
from the gentlemen in question [the Archduke Rudolph, Prince Kinsky, and
Prince Lobkowitz], which I think will be most suitably expressed by my
stating that it is my hope, and has ever been my most ardent wish, to enter
the Imperial service, when I shall be ready to give up as much of the above
salary as the sum I am to receive from His Imperial Majesty amounts to.
(N.B. We must have it to-morrow at twelve o'clock, as we go to Kinsky then.
I hope to see you to-day.)
[Footnote 1: This note, now first published, refers to the call Beethoven
had received, mentioned in the previous No. The sketch of the memorial that
follows is not, however, in Beethoven's writing, and perhaps not even
composed by him [see also No. 46]. It is well known that the Archduke
Rudolph, Prince Kinsky, and Prince Lobkowitz had secured to the _maestro_ a
salary of 4000 gulden.]
49.
The aim and endeavor of every true artist must be to acquire a position in
which he can occupy himself exclusively with the accomplishment of great
works, undisturbed by other avocations or by considerations of economy. A
composer, therefore, can have no more ardent wish than to devote himself
wholly to the creation of works of importance, to be produced before the
public. He must also keep in view the prospect of old age, in order to make
a sufficient provision for that period.
The King of Westphalia has offered Beethoven a salary of 600 gold ducats
for life, and 150 ducats for travelling expenses, in return for which his
sole obligations are, occasionally to play before His Majesty, and to
conduct his chamber concerts, which are both few and short. This proposal
is of a most beneficial nature both to art and the artist.
Beethoven, however, much prefers a residence in this capital, feeling so
much gratitude for the many proofs of kindness he has received in it, and
so much patriotism for his adopted father-land, that he will never cease to
consider himself an Austrian artist, nor take up his abode elsewhere, if
anything approaching to the same advantages are conferred on him here.
As many persons of high, indeed of the very highest rank, have requested
him to name the conditions on which he would be disposed to remain here, in
compliance with their wish he states as follows:--
1. Beethoven must receive from some influential nobleman security for a
permanent salary for life: various persons of consideration might
contribute to make up the amount of this salary, which, at the present
increased price of all commodities, must not consist of less than 4000
florins _per annum_. Beethoven's wish is that the donors of this sum should
be considered as cooperating in the production of his future great works,
by thus enabling him to devote himself entirely to these labors, and by
relieving him from all other occupations.
2. Beethoven must always retain the privilege of travelling in the
interests of art, for in this way alone can he make himself known, and
acquire some fortune.
3. His most ardent desire and eager wish is to be received into the
Imperial service, when such an appointment would enable him partly or
wholly to renounce the proposed salary. In the mean time the title of
_Imperial Kapellmeister_ would be very gratifying to him; and if this wish
could be realized, the value of his abode here would be much enhanced in
his eyes.
If his desire be fulfilled, and a salary granted by His Majesty to
Beethoven, he will renounce so much of the said 4000 florins as the
Imperial salary shall amount to; or if this appointment be 4000 florins, he
will give up the whole of the former sum.
4. As Beethoven wishes from time to time to produce before the public at
large his new great works, he desires an assurance from the present
directors of the theatre on their part, and that of their successors, that
they will authorize him to give a concert for his own benefit every year on
Palm Sunday, in the Theatre "an der Wien." In return for which Beethoven
agrees to arrange and direct an annual concert for the benefit of the poor,
or, if this cannot be managed, at all events to furnish a new work of his
own for such a concert.
50.
TO ZMESKALL.
December, 1808.
MY EXCELLENT FRIEND,--
All would go well now if we had only a curtain, without it the _Aria_ ["Ah!
Perfido"] _will be a failure_.[1] I only heard this to-day from S.
[Seyfried], and it vexes me much: a curtain of any kind will do, even a
bed-curtain, or merely a _kind of gauze screen_, which could be instantly
removed. There must be something; for the Aria is in the _dramatic style_,
and better adapted for the stage than for effect in a concert-room.
_Without a curtain, or something of the sort, the Aria will be devoid of
all meaning, and ruined! ruined! ruined!! Devil take it all!_ The Court
will probably be present. Baron Schweitzer [Chamberlain of the Archduke
Anton] requested me earnestly to make the application myself. Archduke Carl
granted me an audience and promised to come. The Empress _neither promised
nor refused_.
A hanging curtain!!!! or the Aria and I will both be hanged to-morrow.
Farewell! I embrace you as cordially on this new year as in the old one.
_With or without a curtain!_ Your
BEETHOVEN.
[Footnote 1: Reichardt, in his _Vertraute Briefe_ relates among other
things about the concert given by Beethoven in the Royal Theatre "an der
Wien," Oct. 22, 1808, as follows:--"Poor Beethoven, who derived from this
concert the first and only net profits which accrued to him during the
whole year, met with great opposition and very slender support in arranging
and carrying it out. First came the _Pastoral Symphony; or, Reminiscences
of Rural Life_; then followed, as the sixth piece, a long Italian _scena_,
sung by Demoiselle Killitzky, a lovely Bohemian with a lovely voice." The
above note [to Zmeskall?] certainly refers to this concert.]
51.
TO FERDINAND RIES.[1]
1809.
MY DEAR FELLOW,--
Your friends have at any rate given you very bad advice; but I know all
about them: they are the very same to whom you sent that fine news about me
from Paris; the very same who inquired about my age--information that you
contrived to supply so correctly!--the very same who have often before
injured you in my opinion, but now permanently. Farewell!
BEETHOVEN.
[Footnote 1: Ries himself gives the date of this note as 1809, though he
cannot recall what gave rise to it. It is probably connected with a fact
mentioned by Wegeler, p. 95, that Reichardt, who was at that time in
Vienna, had advised Beethoven's young pupil, Ries, to apply to the King of
Westphalia for the appointment of Kapellmeister, which he had recently
given up. This was reported to Beethoven, and roused his ire. Ries, too,
had written from Paris that the taste in music there was very indifferent;
that Beethoven's works were little known or played in that city. Beethoven
was also very susceptible with regard to his age. At the request of some of
Beethoven's friends, Ries, in 1806, obtained Beethoven's baptismal
certificate, and sent it to Vienna. But the _maestro's_ wrath on this
occasion passed away as quickly as usual.]
52.
TO ZMESKALL.[1]
March 7, 1809.
It is just what I expected! As to the blows, that is rather far-fetched.
The story is at least three months' old, and very different from what he
now makes it out to be. The whole stupid affair was caused by a female
huckster and a couple of low fellows. I lose very little. He no doubt was
corrupted in the very house where I am now living.
[Footnote 1: [See No. 10.] The notes to Zmeskall generally have the dates
written by himself. This one bears the date March 7, 1809. In all points
connected with domestic life, and especially in household matters and
discords, Zmeskall was always a kind and consolatory friend. Beethoven at
that time lived in the same house with Countess Erdödy. [See No. 74.]]
53.
TO ZMESKALL.
My most excellent, high, and well-born Herr v. Zmeskall, Court Secretary
and Member of the Society of the Single Blessed,--If I come to see you
to-day, ascribe it to the fact that a person wishes to speak to me at your
house whom I could not refuse to see. I come without any _card_ from you,
but I hope you will not on that account _discard_ me.
Yours truly--most truly,
L. V. BEETHOVEN.
54.
TO ZMESKALL.
It seems to me, dear Zmeskall, if war really does break out, when it comes
to an end you will be the very man for an appointment in the Peace
Legation. What a glorious office!!! I leave it entirely to you to do the
best you can about my servant, only henceforth Countess Erdödy must not
attempt to exercise the smallest influence over him. She says she made him
a present of twenty-five florins, and gave him five florins a month, solely
to induce him to stay with me. I cannot refuse to believe this trait of
generosity, but I do not choose that it should be repeated. Farewell! I
thank you for your friendship, and hope soon to see you.
Yours ever,
BEETHOVEN.
55.
TO ZMESKALL.[1]
April 16, 1809.
If I cannot come to-day, dear Zmeskall which is very possible, ask Baroness
von ---- [name illegible] to give you the pianoforte part of the Trios, and
be so good as to send them and the other parts to me to-day.
In haste, your
BEETHOVEN.
[Footnote 1: April 16, 1809. By the Terzetts he no doubt means the Trios,
Op. 70, dedicated to Countess Erdödy.]
56.
TO ZMESKALL.
April 17, 1809.
DEAR Z.,--
A suitable lodging has just been found out for me, but I need some one to
help me in the affair. I cannot employ my brother, because he only
recommends what costs least money. Let me know, therefore, if we can go
together to look at the house. It is in the Klepperstall.[1]
[Footnote 1: An der Mölker Bastei.]
57.
TO ZMESKALL.
April 25, 1809.
I shall be glad, right glad, to play. I send you the violoncello part; if
you find that you can manage it, play it yourself, or let old Kraft[1] do
so. I will tell you about the lodging when we meet.
Your friend,
BEETHOVEN.
[Footnote 1: Anton Kraft (and likewise his son, Nicolaus Kraft) was a most
admirable violoncello-player, with whom Beethoven from the earliest days of
his residence in Vienna had played a great deal at Prince Lichnowsky's.
Kraft was at that time in Prince Lobkowitz's band.]
58.
TO ZMESKALL.[1]
May 14, 1809.
MY DEAR LITTLE MUSICAL OLD COUNT!--
I think after all it would be advisable to let old Kraft play, as the trios
are to be heard for the first time (in society), and you can play them
afterwards; but I leave it all to your own option. If you meet with any
difficulties, one of which may possibly be that Kraft and S. [Schuppanzigh]
do not harmonize well together, then Herr v. Zmeskall must distinguish
himself, not as a mere musical Count, but as an energetic musician.
Your friend,
BEETHOVEN.
[Footnote 1: Kraft and Schuppanzigh were then each giving quartet
_soirées_.]
59.
TO FREIHERR V. HAMMER-PURGSTALL.[1]
1809.
I feel almost ashamed of your complaisance and kindness in permitting me to
see the MS. of your as yet unknown literary treasures. Pray receive my
sincere thanks. I also beg to return both your operettas. Wholly engrossed
by my professional avocations, it is impossible for me to give an opinion,
especially with regard to the Indian Operetta; as soon as time permits, I
will call on you for the purpose of discussing this subject, and also the
Oratorio of "The Deluge." Pray always include me among the warm admirers of
your great talents.
I am, sir, with sincere esteem, your obedient
BEETHOVEN.
[Footnote 1: I see in Schindler's _Beethoven_, that he wished to have "an
Indian Chorus of a religious character" from this renowned Orientalist,
who, in sending his _Persian Operetta_, written "rather with an ideal than
a musical object," and likewise an oratorio, _The Deluge_,
remarks:--"Should you not find these works in all respects executed quite
to your taste, still I feel convinced that through the genius of a
Beethoven alone can music portray the rising of the great flood and the
pacifying of the surging waters."]
60.
TO FREIHERR V. HAMMER-PURGSTALL.[1]
1809.
Forgive me, my dear H----, for not having brought you the letter for Paris.
I have been, and still am, so much occupied, that day after day I am
obliged to delay writing it, but you shall have it to-morrow, even if I am
unable to come myself to see you, which I am most anxious to do.
There is another matter that I would most earnestly press on you; perhaps
you might succeed in doing something for a _poor unfortunate man_. I allude
to Herr Stoll, son of the celebrated physician. With many persons the
question is whether a man has been ruined by his own fault or by that of
others, but this is not so with either you or me; it is sufficient that
Stoll is unfortunate, and looks on a journey to Paris as his sole resource,
having last year made many influential acquaintances, who, when he goes
there, are to endeavor to procure him a professorship in Westphalia. Stoll
has therefore applied to Herr v. Neumann, in the State Chancery Office, to
send him with a government courier to Paris, but the latter refuses to take
him for less than twenty-five louis d'or. Now I request you, my dear
friend, to speak to Herr v. Neumann to arrange, if possible, that the
courier should either take Stoll _gratis_, or for a small sum. I am
persuaded that if there is nothing particular against it, you will be glad
to interest yourself in poor Stoll. I return to the country to-day, but
hope soon to be so fortunate as to enjoy an hour of your society. In the
mean time I send you my best wishes, and beg you will believe in the
sincere esteem of
Your obedient
LUDWIG v. BEETHOVEN.
[Footnote 1: Reichardt states that Stoll was in Vienna in the spring of
1809, which fixes the date of this letter. Napoleon bestowed a pension on
the young poet (who appears to have gone to Paris), mistaking him for his
father, the celebrated physician.]
61.
TO BARONESS VON DROSSDICK.
MY ESTEEMED THÉRÈSE,--