Grand Mass 130 "
Smaller Mass 100 "
Grand Oratorio 300 "
Smaller Oratorio 200 "
Graduale 20 "
Offertorium 20 "
Te Deum Laudamus 50 "
Requiem 120 "
Vocal pieces with Orchestral accompaniment 20 "
An Opera Seria 300 "
Six large Songs with Pianoforte accompaniment 20 "
Six smaller Songs, ditto 12 "
A Ballad 15 "[26]
It must be borne in mind that these terms were offered to Beethoven at
the period of his life when he had already published his first eight
symphonies and almost all his famous pianoforte sonatas, and other
works, up to Op. 109, and when he therefore was in the zenith of his
reputation in the eyes of the daily increasing number of lovers of music
who were able to understand his genius. In fact, he afterwards received
higher prices; for instance, the publisher Schott, in Mayence, paid him,
in 1825, for the second Mass (D major) 1000 florins; for the ninth
Symphony, 600 florins; for the Quartett Op. 127, fifty ducats; and for
the Quartett Op. 131, eighty ducats. He was still better remunerated, on
a certain occasion, by the publisher Diabelli, in Vienna, who having
composed a Waltz for the pianoforte, wished Beethoven to write six or
seven variations upon it, for which he offered to give him eighty
ducats. Well, Beethoven sat down to compose seven variations. But, the
longer he wrote, the more new ideas occurred to him, and the seven
variations soon increased to ten, then to twenty, then to twenty-five.
When Diabelli learnt that Beethoven had written twenty-five variations
and was still continuing to add to their number, he became rather
alarmed lest the work should grow too voluminous for practical use.
However, he did not succeed in stopping the composer until after the
thirty-third variation. The entire set was published by Diabelli in
1823, under the title '33 Veraenderungen ueber einen Walzer von A.
Diabelli, von Ludwig van Beethoven, Op. 120.'
What must one think of Beethoven's knowledge of money matters when in a
letter to a friend, in which he laments his reduced circumstances, he
asks for advice how he can obtain "money for a bank-note;" while all he
has to do is to cut off from his bond a coupon, and to have it cashed by
the nearest money-changer.[27] Beethoven, owing to his unpractical
habits, required much money, although he lived but frugally. For
instance, it happened that he had to pay rent for three or four
residences at a time, because he had neglected to give warning at the
old residence when he hired a new one. Fortunately for him, some of his
admirers among men of position and wealth interested themselves about
his personal comfort. In an honourable and delicate way they ensured him
an annual income in addition to the gains accruing to him by the sale of
his works. The result was that he actually left some money at his death.
He died (to use an English expression) worth one thousand pounds.
If the correspondence of some of our most celebrated composers with
their publishers were made known, we should probably find therein
unvarnished statements which would surprise us, inasmuch as they would
reveal disappointments which it is now difficult to reconcile with the
celebrity of those composers. The obstacles which some of our classical
composers have encountered in getting their works printed are very
remarkable. J. S. Bach himself engraved on copper-plates his esteemed
work 'The Art of Fugue;' only thirty copies were struck off, as
sufficient to supply the demand; and, after the death of the old master,
his exceedingly practical son, Emanuel, offered the plates for sale at
the value of the copper plates.[28] It is painful to reflect that some
composers who lived in straitened circumstances obtained little or
nothing for certain of their works which have enriched their publishers.
Franz Schubert had to struggle for his daily bread. When the 'Erl-King'
was sung by his friend Vogl for the first time in public, at a concert
in Vienna in the year 1821, it produced sensation, while other
compositions by Schubert which were performed on the same occasion, met
with a cool reception. Schubert published the 'Erl-King' at his own
expense, with the assistance of some friends. But, as his needy
circumstances soon compelled him to sell the copyright of this song,
which was then but little known, his gain was very small, even if
compared with the profits which some arrangers have derived from
transcribing the song for the pianoforte. Although the conditions which
he proposed to the publishers were always modest, they were generally
rejected as being exorbitant. How cautiously the publishers treated him,
may be seen from a letter which Peters, in Leipzig, wrote to
Huettenbrenner, a friend of Schubert. As this letter is also interesting
inasmuch as it affords a glance into the speculations of a practical man
who makes the art his business, it deserves a place here, although it is
rather long. The translation, which is from the German, is as literal as
possible:--
"Having been extremely busy since I received your letter of the
18th of October, I trust you will excuse the tardiness of my reply.
"I am very much obliged to you for your communication respecting
Herr Schubert. Several of his vocal compositions are favourably
known to me, and give me confidence in your recommendation of this
artist. It will be a great pleasure to me to assist in a wider
diffusion of the works of this composer than the Vienna
music-sellers are capable of effecting. But, before I enter into
any obligation, allow me to give you a little sketch of my business
arrangements.
"At the moment when I commenced my present business I resolved to
distinguish myself advantageously as a publisher, never to print
anything bad, but rather as much as possible to print only the
best. It is impracticable to carry out this plan thoroughly; for I
cannot obtain from the most distinguished artists alone as many
manuscripts as I require. Besides, we publishers are also often
compelled from policy to print many things which I at least would
otherwise not print. Nay, we must publish even many slight works in
order to provide for a certain public; for, if we confined
ourselves to classical works only, we should have a very limited
sphere of business; since, as is well known, the connoisseurs do
not constitute the majority. Nevertheless, I have not been
influenced by desire for gain to patronize the more lucrative but
trashy fashionable trifles; I have always taken care that also the
works for the great majority of the people should never be bad.
Always keeping my favourite aim in view, I have chiefly striven to
issue superior works; and this my endeavour will in future become
more and more apparent, since every year increases the number of my
valuable connections, which my financial resources permit me to
maintain.
"These observations lead me to mention two obstacles which often
frustrate my plan. The first is want of time, which almost
continually curbs me. In order to obtain as many good works as
possible, I must seek after connections with good artists, and I
must strengthen these connections not only by endeavouring to
satisfy the artists, but also by proving myself a publisher always
ready at their service,--a mutual understanding which is convenient
to both parties. My connection with most of those of my authors who
are valuable to me,--as for instance, Spohr, Romberg, Hummel,
etc.,--has grown into a friendly relation. I am, therefore, doubly
compelled to accept all that such friends and good artists send me,
although there is often much among it of which I know at once that
I shall gain nothing by it. These obligations take up much of my
time, not only because those artists give me constant occupation,
but also because I require leisure for examining such works of
other authors as I receive unexpectedly, as is the case with the
present ones. Thus, the time remaining to me is seldom sufficient
to enable me to undertake the publication of more works than I have
in hand; and I am continually prevented forming new connections
with composers from want of time.
"The second obstacle which renders a new connection difficult, and
which proceeds from the facts above stated, is the novelty, and the
name of a young composer unknown in my sphere of business. Very
often I am reproached with not making known the works of new
composers, and that a new composer cannot become known if the
publishers do not undertake the publication of his works. This
reproach is, however, quite undeserved as far as I am concerned;
for I cannot do everything, and must keep to a fixed plan in order
to succeed. My plan is to obtain the works of artists who are
already celebrated. True, I print many other works besides; but if
I can obtain enough of those, I must leave to other publishers the
introduction to the public of new composers. These publishers are
also able to do something, and many are glad to engage new
composers, because they fear to pay the sums demanded by older and
more valuable artists. But as soon as the new composer has obtained
a name, and his works are known as being good, then I am his man;
and then the publication of his works accords with my plan, which
is calculated more with regard to honour than to gain. I will then
rather pay a high price for his works than procure them in the
beginning on low terms.
"You see, therefore, that it is difficult for me to meet at once
your proposal respecting Herr Schubert, especially as my time is so
much taken up. However, my opinion of him makes me reluctant to
disregard altogether the wish of this young artist. As a middle
course, I would, therefore, propose that Herr Schubert should send
me some of his works which he desires to have printed, so that I
may examine them; for, without having previously seen the
manuscript, I accept nothing from a young composer who is but
little known. If a great and well-known artist produces something
bad, the blame falls upon him, because his name is my guarantee;
but if I bring out something by a new artist which is not liked,
the blame falls upon me; for, who compels me to print a composition
of the merit of which I am not convinced? Here the name of the
composer is no protection to me. Herr Schubert may be sure that in
trusting his manuscripts to me, he places them in safe hands; there
will be no misuse made of them. In case that I find them
satisfactory, I shall retain of them as many as I find convenient;
on the other hand, Herr Schubert must not feel hurt if I do not
like one or other piece. I shall be quite candid, for candour is
the surest way to lead to a right understanding.
"Furthermore, I must beg him to forward to me only his most
successful works. True, he will not think of publishing anything
which he does not consider a successful production. Be this as it
may, a composer is always more successful with one work than with
another; and I must have the best. I say I must have the best; not
for the sake of gain, but for the sake of my reputation, when I
introduce a composer to my public, which is very extensive. I have
been very painstaking to make my establishment as complete as
possible, and I now experience from many quarters the recompense
that my firm enjoys in an extraordinary degree the confidence of
others. People expect from me the publication of many good works;
and if I bring out a new author, they soon give him their
confidence, believing that he must be good because I had taken
notice of him. No doubt, there have been mistakes; but I am
becoming more and more cautious, in order that I may always ensure
and strengthen my reputation, which to acquire I have taken so much
trouble. For this reason I insist upon a new author giving me his
best, in order that I may recommend him properly from the
beginning, my recommendation being justified. Besides, the first
impression often opens the road to the whole future; wherefore, to
composers just beginning, the good advice to proceed with the
publication of their works as cautiously as possible, cannot be too
often repeated. They may venture much, but should have only little
printed until their reputation is established.
"Spohr has hitherto brought out only 58 works; Andreas Romberg, 66;
Bernhard Romberg, 38; while now many other artists who are much
younger have already had printed above a hundred. Those well-known
composers have written much more, which, however, they thought
advisable to withhold from publication. If, by way of
contradiction, you point out to me the fertile, and nevertheless
valuable Mozart, Haydn, Beethoven, etc., I declare that such men
are rare masters whom we ought certainly to regard as models, but
that experience must first teach us whether the young aspirant is
similarly gifted. Moreover, many of the earlier compositions of
Mozart have never been printed.
"Now, have the kindness to confer with Herr Schubert upon my
communication to you, and decide what is further to be done. As
regards the terms, I beg you to inform me of them, because it is
disagreeable to my feelings to make an offer for an intellectual
production. Most likely there will not be any difficulty about
settling the conditions. The perseverance with which my authors
stick to me, sufficiently shows that they do well with me; this I
can assert of myself to my own praise. Besides, the conditions of a
young artist cannot be so high that they could not easily be
conceded to. I believe that, as you intimate, of a new work by Herr
Schubert, perhaps 300 copies might be sold in Vienna alone. But
then it must be printed in Vienna. I do not think that I should
sell there 100 copies, although I am in connection with all the
music-sellers of that town. You will understand this quite well,
and I need not explain the cause, but you may believe me that it is
so; experience confirms it, and the exceptions are rare indeed.
I remain, with high esteem, etc.,
B. V. PETERS.