in procuring the University Hall for two concerts which I think of giving,
and in fact must give, for all remains as it was. Always considering you,
both in good and evil fortune, my best friend, I suggested to the Duke that
you should apply in his name for this favor to the present Rector of the
University. Whatever may be the result, let me know H.R.H.'s decision as
soon as possible, that I may make further efforts to extricate myself from
a position so detrimental to me and to my art. I am coming this evening to
the Archduke.
Your friend,
BEETHOVEN.
[K.]
114.
TO HERR VON BAUMEISTER.[1]
DEAR SIR,--
I request you will send me the parts of the Symphony in A, and likewise my
score. His I.H. can have the MS. again, but I require it at present for the
music in the Augarten to-morrow. I have just received two tickets, which I
send to you, and beg you will make use of them.
I am, with esteem, yours,
L. V. BEETHOVEN.
[Footnote 1: Private Secretary to the Archduke Rudolph.]
115.
TO ZMESKALL.
Oct. 9, 1813.
MY DEAR GOOD Z.,--
Don't be indignant with me for asking you to address the enclosed letter
properly; the person for whom it is intended is constantly complaining that
he gets no letters from me. Yesterday I took one myself to the post-office,
when I was asked where the letter was meant to go. I see, therefore, that
my writing seems to be as little understood as myself. Thence my request to
you. Your
BEETHOVEN.
116.
LETTER OF THANKS.
I esteem it my duty to express my gratitude for the great zeal shown by all
those artists who so kindly coöperated on the 8th and 12th December [1813]
in the concerts given for the benefit of the Austrian and Bavarian soldiers
wounded at the battle of Hanau. It was a rare combination of eminent
artists, where all were inspired by the wish to be of use to their
father-land, and to contribute by the exercise of their talents to the
fulfilment of the undertaking, while, regardless of all precedence, they
gladly accepted subordinate places.[1] While an artist like Herr
Schuppanzigh was at the head of the first violins, and by his fiery and
expressive mode of conducting kindled the zeal of the whole orchestra, Herr
Kapellmeister Salieri did not scruple to give the time to the drums and
cannonades; Herr Spohr and Herr Mayseder, each worthy from his talents to
fill the highest post, played in the second and third rank. Herr Siboni and
Herr Giuliani also filled subordinate places. The conducting of the whole
was only assigned to me from the music being my own composition; had it
been that of any one else, I would willingly, like Herr Hummel, have taken
my place at the big drum, as the only feeling that pervaded all our hearts
was true love for our father-land, and the wish cheerfully to devote our
powers to those who had sacrificed so much for us. Particular thanks are
due to Herr Maelzel, inasmuch as he first suggested the idea of this
concert, and the most troublesome part of the enterprise, the requisite
arrangements, management, and regulations, devolved on him. I more
especially thank him for giving me an opportunity by this concert of
fulfilling a wish I have long cherished, to compose for such a benevolent
object (exclusive of the works already made over to him) a comprehensive
work more adapted to the present times, to be laid on the altar of my
father-land.[2] As a notice is to be published of all those who assisted on
this occasion, the public will be enabled to judge of the noble self-denial
exercised by a mass of the greatest artists, working together with the same
benevolent object in view.
LUDWIG VAN BEETHOVEN.
[Footnote 1: The A major Symphony and _Wellington's Victory at Vittoria_
were performed.]
[Footnote 2: "Obsolete" is written in pencil by Beethoven.]
117.
TO THE ARCHDUKE RUDOLPH.[1]
1814.
I beg you will send me the score of the "Final Chorus"[2] for half a day,
as the theatrical score is so badly written.
[K.]
[Footnote 1: The spring of 1814.]
[Footnote 2: The _Schlusschor_, the score of which Beethoven requests the
Archduke to send him, is in all probability the Finale _Germania!
Germania!_ intended for Treitschke's Operetta _Die gute Nachricht_, which
refers to the taking of Paris by the Allies, and was performed for the
first time at Vienna in the Kärnthnerthor Theatre on the 11th April, 1814.
The same _Final Chorus_ was substituted for another of Beethoven's (_Es ist
vollbracht_) in Treitschke's Operetta _Die Ehrenpforten_, first given on
the 15th July, 1815, in the Kärnthnerthor Theatre. Both these choruses are
printed in score in Breitkopf & Härtel's edition of Beethoven's works.]
118.
TO THE ARCHDUKE RUDOLPH.
1814.
Having only so recently received the score of the "Final Chorus," I must
ask you to excuse your getting it back so late. The best thing H.R.H. can
do is to have it transcribed, for in its present form the score is of no
use. I would have brought it myself, but I have been laid up with a cold
since last Sunday, which is most severe, and obliges me to be very careful,
being so much indisposed. I never feel greater satisfaction than when
Y.R.H. derives any pleasure through me. I hope very soon to be able to wait
on you myself, and in the mean time I pray that you will keep me in
remembrance.
[K.]
119.
TO THE ARCHDUKE RUDOLPH.
1814.
The song "Germania" belongs to the whole world who sympathize with the
subject, and to you beyond all others, just as I myself am wholly yours. I
wish you a good journey to Palermo.
[K.]
120.
TO TREITSCHKE.
March, 1814.
MY DEAR, WORTHY T.,--
I have read with the greatest satisfaction your amendments of the Opera
["Fidelio" which was about to be again performed]. It has decided me once
more to rebuild the desolate ruins of an ancient fortress.
Your friend,
BEETHOVEN.
121.
TO TREITSCHKE.
The affair of the Opera is the most troublesome in the world, and there is
scarcely one part of it which quite satisfies me now, and that I have not
been obliged to _amend by something more satisfactory_. But what a
difference between this, and giving one's self up to freely flowing thought
and inspiration!
122.
TO TREITSCHKE.
1814.
I request, my dear T., that you will send me the score of the song [in
"Fidelio," _Geld ist eine schöne Sache_], that the interpolated notes may
be transcribed in all the instrumental parts; though I shall not take it at
all amiss if you prefer that Girowetz or any other person, perhaps
Weinmüller [who sang the part of Rocco], should do so. This I have nothing
to say against, but I will not suffer my composition to be altered by any
one whatever, be he who he may.
I am, with high consideration,
Your obedient
BEETHOVEN.
123.
TO COUNT MORITZ LICHNOWSKY.[1]
MY DEAR COUNT,--
If you wish to attend our council [about the alterations in "Fidelio"], I
beg to inform you that it assembles this afternoon at half-past three
o'clock, in the Spielmann Haus, auf dem Graben, No. 188, 4th Etage, at Herr
Weinmüller's. I shall be very glad if you have leisure to be present.
[Footnote 1: The mention of Weinmüller decides the date of this note, as it
was in the spring of 1814 that he, together with the singers Saal and Vogl,
brought about the revival of _Fidelio_.]
124.
TO COUNT MORITZ LICHNOWSKY.[1]
My dear, victorious, and yet sometimes nonplussed (?) Count! I hope that
you rested well, most precious and charming of all Counts! Oh! most beloved
and unparalleled Count! most fascinating and prodigious Count!
[Music: Treble clef, E-flat Major, 2/2 time.
Graf Graf Graf Graf (in 3-part harmony)
Graf (in 3-part counterpoint)
Graf Graf Graf, liebster Graf, liebstes Schaf,
bester Graf, bestes Schaf! Schaf! Schaf!]
(_To be repeated at pleasure_.)
At what hour shall we call on Walter to-day? My going or not depends
entirely on you. Your
BEETHOVEN.
[Footnote 1: In Schindler's _Beethoven's Nachlass_ there is also an
autograph Canon of Beethoven's in F major, 6/8, on Count Lichnowsky, on the
words, _Bester Herr Graf, Sie sind ein Schaf_, written (according to
Schindler) Feb. 20th, 1823, in the coffee-house "Die Goldne Birne," in the
Landstrasse, where Beethoven usually went every evening, though he
generally slipped in by the backdoor.]
125.
TO THE ARCHDUKE RUDOLPH.
1814.
I hope you forgive me for not having come to you. Your displeasure would be
totally undeserved, and I will amply compensate for lost time in a few
days. My Opera of "Fidelio"[1] is again to be performed, which gives me a
great deal to do; moreover, though I look well, I am not so in reality. The
arrangements for my second concert[2] are partly completed. I must write
something new for Mdlle. Milder.[3] Meanwhile it is a consolation to me to
hear that Y.R.H. is so much better. I hope I am not too sanguine in
thinking that I shall soon be able to contribute towards this. I have taken
the liberty to apprise my Lord Falstaff[4] that he is ere long to have the
honor of appearing before Y.R.H.
[K.]
[Footnote 1: Letters 125 and 126 refer to the revival of the Opera of
_Fidelio_, which had not been given since 1806, and was not again produced
on the stage till the 23d May, 1814, in the Kärnthnerthor Theatre.
Beethoven's benefit took place on the 8th July, two newly composed pieces
being inserted.]
[Footnote 2: Beethoven gave a concert on the 2d January, 1814, when
_Wellington's Victory_ was performed, and on the 26th March another for the
benefit of the Theatrical Fund, at which the _Overture to Egmont_ and
_Wellingtons's Victory_ were given, directed by Beethoven himself.]
[Footnote 3: Anna Milder, Royal Court opera singer, a pupil of Vogl's, who
first sang the part of Leonore in _Fidelio_.]
[Footnote 4: By "my Lord Falstaff" he means the corpulent violinist
Schuppanzigh.]
126.
TO THE ARCHDUKE RUDOLPH.
Vienna, July 14, 1814.
Whenever I inquire about you I hear nothing but good news. As for my own
insignificant self, I have been hitherto hopelessly detained in Vienna, and
unable to approach Y.R.H.; I am also thus deprived of the enjoyment of
beautiful Nature, so dear to me. The directors of the theatre are so
_conscientious_, that, contrary to their faithful promise, they have again
given my Opera of "Fidelio," without thinking of giving me any share in the
receipts. They would have exhibited the same commendable good faith a
second time, had I not been on the watch like a French custom-house officer
of other days. At last, after a great many troublesome discussions, it was
settled that the Opera of "Fidelio" should be given on Monday the 18th of
July, for my benefit. These _receipts_ at this season of the year may more
properly be called _deceits_; but if a work is in any degree successful it
often becomes a little feast for the author. To this feast the master
invites his illustrious pupil, and hopes--yes! I hope that Y.R.H. will
graciously consent to come, and thus add lustre to everything by your
presence. It would be a great boon if Y.R.H. would endeavor to persuade the
other members of the Imperial family to be present at the representation of
my Opera, and I on my part will not fail to take the proper steps on the
subject which duty commands. Vogl's illness[1] enabled me to satisfy my
desire to give the part of Pizarro to Forti,[2] his voice being better
suited to it; but owing to this there are daily rehearsals, which cannot
fail to have a favorable effect on the performance, but which render it
impossible for me to wait upon Y.R.H. before my benefit. Pray give this
letter your favorable consideration, and think graciously of me.
[K.]
[Footnote 1: Joh. Mich. Vogl, born August 10th, 1768, was Court opera
singer (tenor) in Vienna from 1794 to 1822; he died November 19th, 1840.]
[Footnote 2: Forti, born June 8th, 1790, a member of the Royal Court
Theatre (a barytone), pensioned off in 1834.]
127.
DEPOSITION.
1814.
I voluntarily presented Maelzel _gratis_ with a "Battle Symphony" for his
panharmonica. After having kept it for some time, he brought me back the
score, which he had already begun to engrave, saying that he wished it to
be harmonized for a full orchestra. The idea of a battle had already
occurred to me, which, however, could not be performed on his panharmonica.
We agreed to select this and some more of my works [see No. 116] to be
given at the concert for the benefit of disabled soldiers. At that very
time I became involved in the most frightful pecuniary difficulties.
Forsaken by every one in Vienna, and in daily expectation of remittances,
&c., Maelzel offered me fifty gold ducats, which I accepted, saying that I
would either repay them, or allow him to take the work to London, (provided
I did not go there myself with him,) referring him to an English publisher
for payment.
I got back from him the score written for the panharmonica. The concerts
then took place, and during that time Herr Maelzel's designs and character
were first fully revealed. Without my consent, he stated on the bills of
the concert that the work was _his property_. Indignant at this, I insisted
on his destroying these bills. He then stated that I had given it to him as
a friendly act, because he was going to London. To this I did not object,
believing that I had reserved the right to state the conditions on which
the work should be his own. I remember that when the bills were being
printed, I violently opposed them, but the time was too short, as I was
still writing the work. In all the fire of inspiration, and absorbed in my
composition, I scarcely thought at all on the subject. Immediately after
the first concert in the University Hall, I was told on all sides, and by
people on whom I could rely, that Maelzel had everywhere given out he had
paid me 400 gold ducats for the Symphony. I sent what follows to a
newspaper, but the editor would not insert it, as Maelzel stands well with
them all. As soon as the first concert was over, I repaid Maelzel his fifty
ducats, declaring that having discovered his real character, nothing should
ever induce me to travel with him; justly indignant that, without
consulting me, he had stated in the bills that all the arrangements for the
concert were most defective. His own despicable want of patriotism too is
proved by the following expressions: "I care nothing at all about L.; if it
is only said in London that people have paid ten gulden for admission here,
that is all I care about; the wounded are nothing to me." Moreover, I told
him that he might take the work to London on certain conditions, which I
would inform him of. He then asserted that it was a _friendly gift_, and
made use of this phrase in the newspapers after the second concert, without
giving me the most remote hint on the subject. As Maelzel is a rude,
churlish man, entirely devoid of education or cultivation, it is easy to
conceive the tenor of his conduct to me during this time, which still
further irritated me. Who could bear to be forced to bestow a _friendly
gift_ on such a man? I was offered an opportunity to send the work to the
Prince Regent, [afterwards George IV.] It was therefore quite impossible
for me to _give away the work unconditionally_.
He then called on a mutual friend to make proposals. He was told on what
day to return for an answer, but he never appeared, set off on his travels,
and performed the work in Munich. How did he obtain it? He could not
possibly _steal_ it; but Herr Maelzel had several of the parts for some
days in his house, and he caused the entire work to be harmonized by some
obscure musical journeyman, and is now hawking it about the world. Herr
Maelzel promised me ear-trumpets. I harmonized the "Battle Symphony" for
his panharmonica from a wish to keep him to his word. The ear-trumpets came
at last, but were not of the service to me that I expected. For this slight
trouble Herr Maelzel, after my having arranged the "Battle Symphony" for a
full orchestra, and composed a battle-piece in addition, declared that I
ought to have made over these works to him as _his own exclusive property_.
Even allowing that I am in some degree obliged to him for the ear-trumpets,
this is entirely balanced by his having made at least 500 gulden in Munich
by my mutilated or stolen battle-piece. He has therefore paid himself in
full. He had actually the audacity to say here that he was in possession of
the battle-piece; in fact he showed it, written out, to various persons. I
did not believe this; and, in fact, with good reason, as the whole is not
by me, but compiled by some one else. Indeed the credit he assumes for the
work should alone be sufficient compensation.
The secretary at the War Office made no allusion whatever to me, and yet
every work performed at both concerts was of my composition.
Herr Maelzel thinks fit to say that he has delayed his visit to London on
account of the battle-piece, which is a mere subterfuge. He stayed to
finish his patchwork, as the first attempt did not succeed.
BEETHOVEN.
128.
TO HERR J. KAUKA, DOCTOR OF LAWS IN PRAGUE, IN THE KINGDOM OF BOHEMIA.
The Summer of 1814.
A thousand thanks, my esteemed Kauka. At last I meet with a _legal
representative_ and a _man_, who can both write and think without using
unmeaning formulas. You can scarcely imagine how I long for the end of this
affair, as it not only interferes with my domestic expenditure, but is
injurious to me in various ways. You know yourself that a sensitive spirit
ought not to be fettered by miserable anxieties, and much that might render
my life happy is thus abstracted from it. Even my inclination and the duty
I assigned myself, to serve suffering humanity by means of my art, I have
been obliged to limit, and must continue to do so.[1]
I write nothing about our monarchs and monarchies, for the newspapers give
you every information on these subjects.[2] The intellectual realm is the
most precious in my eyes, and far above all temporal and spiritual
monarchies. Write to me, however, what you wish _for yourself_ from my poor
musical capabilities, that I may, in so far as it lies in my power, supply
something for your own musical sense and feeling. Do you not require all
the papers connected with the Kinsky case? If so I will send them to you,
as they contain most important testimony, which, indeed, I believe you read
when with me. Think of me and do not forget that you represent a
disinterested artist in opposition to a niggardly family. How gladly do men
withhold from the poor artist in one respect _what they pay him in
another_, and there is no longer a Zeus with whom an artist can invite
himself to feast on ambrosia. Strive, my dear friend, to accelerate the
tardy steps of justice. Whenever I feel myself elevated high, and in happy
moments revel in my artistic sphere, circumstances drag me down again, and
none more than these two lawsuits. You too have your disagreeable moments,
though with the views and capabilities I know you to possess, especially in
your profession, I could scarcely have believed this; still I must recall
your attention to myself. I have drunk to the dregs a cup of bitter sorrow,
and already earned martyrdom in art through my beloved artistic disciples
and colleagues. I beg you will think of me every day, and imagine it to be
an _entire world_, for it is really asking rather too much of you to think
of so humble an _individual_ as myself.
I am, with the highest esteem and friendship,
Your obedient
LUDWIG VAN BEETHOVEN.
[Footnote 1: He supported a consumptive brother and his wife and child.]
[Footnote 2: At the Vienna Congress Beethoven was received with much
distinction by the potentates present.]
129.
ADDRESS AND APPEAL TO LONDON ARTISTS BY L. VAN BEETHOVEN.
Vienna, July 25, 1814.
Herr Maelzel, now in London, on his way thither performed my "Battle
Symphony" and "Wellington's Battle of Vittoria" in Munich, and no doubt he
intends to produce them at London concerts, as he wished to do in
Frankfort. This induces me to declare that I never in any way made over or
transferred the said works to Herr Maelzel; that no one possesses a copy of
them, and that the only one verified by me I sent to his Royal Highness the
Prince Regent of England. The performance of these works, therefore, by
Herr Maelzel is either an imposition on the public, as the above
declaration proves that he does not possess them, or if he does, he has
been guilty of a breach of faith towards me, inasmuch as he must have got
them in a surreptitious manner.
But even in the latter case the public will still be deluded, for the works
that Herr Maelzel performs under the titles of "Wellington's Battle of
Vittoria" and "Battle Symphony" are beyond all doubt spurious and
mutilated, as he never had any portion of either of these works of mine,
except some of the parts for a few days.
This suspicion becomes a certainty from the testimony of various artists
here, whose names I am authorized to give if necessary. These gentlemen
state that Herr Maelzel, before he left Vienna, declared that he was in
possession of these works, and showed various portions, which, however, as
I have already proved, must be counterfeit. The question whether Herr
Maelzel be capable of doing me such an injury is best solved by the
following fact,--In the public papers he named himself as sole giver of the
concert on behalf of our wounded soldiers, whereas my works alone were
performed there, and yet he made no allusion whatsoever to me.
I therefore appeal to the London musicians not to permit such a grievous
wrong to be done to their fellow-artist by Herr Maelzel's performance of
the "Battle of Vittoria" and the "Battle Symphony," and also to prevent the
London public being so shamefully imposed upon.
130.
TO DR. KAUKA.
Vienna, August 22, 1814.
You have shown a feeling for harmony, and you can resolve a great discord
in my life, which causes me much discomfort, into more pleasing melody, if
you will. I shortly expect to hear something of what you understand is
likely to happen, as I eagerly anticipate the result of this most _unjust_
affair with the Kinskys. When the Princess was here, she seemed to be well
disposed towards me; still I do not know how it will end. In the mean time
I must restrict myself in everything, and await with entire confidence what
is _rightfully my own_ and _legally devolves on me_; and though unforeseen
occurrences caused changes in this matter, still two witnesses recently
bore testimony to the wish of the deceased Prince that my appointed salary
in _Banco Zettel_ should be paid in _Einlösung Schein_, making up the
original sum, and the Prince himself gave me sixty gold ducats _on account_
of my claim.
Should the affair turn out badly for me by the conduct of the Kinsky
family, I will publish it in every newspaper, to their disgrace. If there
had been an heir, and the facts had been told to him _in all their truth_,
just as I narrated them, I am convinced that he would at once have adopted
the words and deeds of his predecessor. Has Dr. Wolf [the previous
advocate] shown you the papers, or shall I make you acquainted with them?
As I am by no means sure that this letter will reach you safely, I defer
sending you the pianoforte arrangement of my opera "Fidelio," which is
ready to be dispatched.
I hope, in accordance with your usual friendliness, soon to hear from you.
I am also writing to Dr. Wolf (who certainly does not treat any one
_wolfishly_), in order not to arouse his _passion_, so that he may have
_compassion_ on me, and neither take my purse nor my life.
I am, with esteem, your true friend,
LUDWIG VAN BEETHOVEN.
131.
TO COUNT MORITZ LICHNOWSKY.
Baden, Sept. 21, 1841.[1]
MOST ESTEEMED COUNT AND FRIEND,--
I unluckily only got your letter yesterday. A thousand thanks for your
remembrance of me. Pray express my gratitude also to your charming Princess
Christiane [wife of Prince Carl Lichnowsky]. I had a delightful walk
yesterday with a friend in the Brühl, and in the course of our friendly
chat you were particularly mentioned, and lo! and behold! on my return I
found your kind letter. I see you are resolved to continue to load me with
benefits.