Chapter 14

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 register, which is as follows:—"Extract, Church Register, St. Remigii, at Bonn."Anno millesimo septingentesimo septuagesimo, die decima septima Decembris, baptizatus estLudovicus, 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,"THEBURGOMASTER.(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]SeeSupplement 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]SeeSupplement No. I., Vol. 1.[18]Printed in theNeue 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 (Eminor), 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 withMilder" [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 singinganywhere else. To-morrow I mean to come myself 'to kiss the hem of her garment.' Do not forgetMarconi" [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 theFantasia 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).—SeeSupplement 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]SeeSupplement 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 araptus!"[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 speakshislanguage, and has all the charms so peculiar to himself, particularly in the choral parts. It consists of—No. 1.Chorus.2.RecitativoandChorus.3.Grand Scena, Soprano, with Violin obligato andChorus.4.Solo, Soprano andChorus.5.RecitativoandQuartett, 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 applicationbeforethe 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 wereencored:—The Overture—the 1st Tenor air sung byAdolar(Haitzinger)—the Finale to the 1st Act, sung byEuryanthe(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]SeeSupplement 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 lettershavealready 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]SeeSupplement, No. V., Vol. I.[65]He merely saw two representations, one of which was theBarber 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 wordstechensignifies both to engrave and to sting: hence arises in the original a pun which cannot possibly be conveyed in the translation.

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.

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 register, which is as follows:—"Extract, Church Register, St. Remigii, at Bonn."Anno millesimo septingentesimo septuagesimo, die decima septima Decembris, baptizatus estLudovicus, 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,"THEBURGOMASTER.(Signed) "WINDECK."Bonn, 28th June, 1827."

[5]Dr. Wegeler published in consequence a copy of Beethoven's baptismal register, which is as follows:—

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

"Anno millesimo septingentesimo septuagesimo, die decima septima Decembris, baptizatus estLudovicus, 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,

"THEBURGOMASTER.(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]SeeSupplement 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]SeeSupplement No. I., Vol. 1.

[18]Printed in theNeue 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 (Eminor), 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 withMilder" [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 singinganywhere else. To-morrow I mean to come myself 'to kiss the hem of her garment.' Do not forgetMarconi" [a celebrated Contra-Alto of the time.—ED.], "and, above all, do not be angry with me for thus overburthening you."Ever yours,"BEETHOVEN."

[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 withMilder" [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 singinganywhere else. To-morrow I mean to come myself 'to kiss the hem of her garment.' Do not forgetMarconi" [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 theFantasia 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.

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.

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).—SeeSupplement 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]SeeSupplement 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 araptus!"

[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.

[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—

[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 speakshislanguage, and has all the charms so peculiar to himself, particularly in the choral parts. It consists of—No. 1.Chorus.2.RecitativoandChorus.3.Grand Scena, Soprano, with Violin obligato andChorus.4.Solo, Soprano andChorus.5.RecitativoandQuartett, 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.

No. 1.Chorus.2.RecitativoandChorus.3.Grand Scena, Soprano, with Violin obligato andChorus.4.Solo, Soprano andChorus.5.RecitativoandQuartett, 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 applicationbeforethe 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 wereencored:—The Overture—the 1st Tenor air sung byAdolar(Haitzinger)—the Finale to the 1st Act, sung byEuryanthe(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.

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 wereencored:—The Overture—the 1st Tenor air sung byAdolar(Haitzinger)—the Finale to the 1st Act, sung byEuryanthe(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]SeeSupplement 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 lettershavealready 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]SeeSupplement, No. V., Vol. I.

[65]He merely saw two representations, one of which was theBarber 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.

{****} 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 wordstechensignifies both to engrave and to sting: hence arises in the original a pun which cannot possibly be conveyed in the translation.

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