[157]The date of the year is wanting, but it is most probably 1800.[158]Bonn had, through the war, lost its prince, the court, the administrative body—in fact, all its resources. It never had any trade or manufactures.[159]Beethoven was most easily excited, and consequently very irritable; but when the first burst of passion had subsided, he had an open ear and a yielding heart for the reproofs of his friends. He would consequently be much more contrite than the occasion warranted. I have now before me a note of his which I received at Vienna, and which runs thus:—"What an abominable picture of myself you have shown me! Oh! I feel it: I am not worthy of your friendship. I did not meditate a base action: it was thoughtlessness which urged me to my unpardonable conduct towards you." Thus he fills three pages; and this is the end:—"But no more. I fly to you, and in an embrace ask for my lost friend; and you will restore him to me—to your contrite, faithful, and loving friend, BEETHOVEN." The two letters to Mlle. von Breuning, as above quoted, are of the same tenor. He had quarrelled with Stephen von Breuning (as with what friend did he not quarrel?), but, being made sensible ofhis grievous wrong, he wrote and acted in the same way, upon which the most heartfelt reconciliation took place; and the sincerest friendship subsisted uninterruptedly between them until Beethoven's death.[160]The bark of daphne mezereum.[161]John Adam Schmidt, councillor, &c. &c., oculist, and author of several classical works.[162]I lived in close and friendly intimacy with Schmidt and Hunczovsky up to their death. The former wrote under his portrait, which he sent me,—"Cogitare et esse sui, idem est. Wegelero suo Schmidt."[163]My brother-in-law Stephen Breuning, Ferdinand Ries, Bernard Romberg, and myself, have been taught by experience that Beethoven was ever a slave to the tender passion, and that in the highest degree. His and Stephen Breuning's first love was Mlle. Jeannette d'Honrath, of Cologne, who often spent some weeks at the residence of the Breunings. She was as fair as lively, engaging and amiable, had a beautiful voice, and delighted in music. She often used to sing, in derision, to our friend, the well-known song:—"What! part with thee this very day?My heart a thousand times says nay,And yet I know I must not stay."The happy rival was Major Greth, of Cologne, who married the fair lady. This attachment of Beethoven's was followed by one for the amiable Mlle. W——; and it is but three years since B. Romberg told me many anecdotes of this Werther-like love. Neither this nor any of the former inclinations left any lasting impression upon his own mind or that of the fair ones. Beethoven was a great favourite at Vienna, and perhaps more so than many an Adonis might be; and I will leave connoisseurs and dilettanti to judge whether "Adelaide," "Fidelio," and many other things, could have been written if the author had not experienced those feelings which they so admirably depict. But let us take the author's word for it, as given in this letter, that hewasswayed by love. To the best of my knowledge, his affections were generally placed in the higher ranks.[164]This alludes to a violent quarrel which arose between the composer and his friend, about some lodgings which the latter had taken for him.[165]Ries then lived at a tailor's, who had beautiful daughters.[166]My lot in this particular was that of his pupil Ries. The dedication was made by letter only; but are not such letters of greater value?[167]This alludes to what will appear by and by in Ries's sketches.[168]Beethoven was here mistaken. It was not a song of his composition which he no longer possessed, but merely new words put to Matthisson's Ode. I did the same thing with an early song of Beethoven's—"Who is a free man?" (Wer ist ein freier Mann?) Beethoven wished to have words for the theme of those Variations with which the grand Sonata, Op. 26, dedicated to Prince Lichnowsky, commences. My attempt did not however satisfy me: thus he never saw it.[169]Joseph Simrock, music publisher, the head of the present house.[170]"Dessiné par Letronne, et gravé par Hoefel, 1814. For my friend Wegeler. Vienna, March 27, 1815. Ludw. van Beethoven." Our mutual friend, Director Eichhoff, brought it away for me after the congress.[171]Beethoven was educating the son of his brother Caspar, who had died the preceding year.[172]Beethoven was then living at Bonn, in the Wenzel Street.[173]The reader may judge hereby what to think of Beethoven's contempt of such distinctions.[174]A month before his death.[175]I had, if my memory serves me, reminded him of Blumauer, who lived many years after having been tapped. I proposed to him to fetch him from the Bohemian baths, take him by a circuitous route to the Upper Rhine, and then down to Coblentz, where he was finally to recover.[176]On the portrait stands,abovehis name, "To my long tried and much beloved friend, F. G. Wegeler." There is no date affixed.[177]I am indebted to the kindness of Mr. Neate for the following correspondence, which succeeded the acquaintance formed between the two at Vienna in the year 1815; and, as will be seen, includes a letter from Mr. Neate in elucidation of a misunderstanding which had arisen between them. Beethoven's letters to Ries I extract from Dr. Wegeler's Notices, &c.—ED.[178]Mr. Neate was at the time one of the directors of the Philharmonic Society.—ED.[179]This is the title on the piano-forte score.—(Beethoven's own note).[180]The reader will perceive that I have given this letter without attempting to correct its orthography, conceiving it to be one of those cases where the original imperfection rather adds to than diminishes the interest of the document.—ED.[181]This letter, not written but signed in Beethoven's own handwriting, is here given in the original English text.—ED.[182]These were dedicated by the author to Mr. Neate.—ED.[183]This letter cannot be produced.—ED.[184]In consequence of this offer, the Philharmonic Society ordered a Symphony for one hundred guineas, and he accordingly sent them his Ninth Symphony.—ED.[185]I have, in my edition of this Sonata, marked the time of the first movement 138 of Maelzel's Metronome, because Beethoven himself had fixed that number. He, according to "Wegeler's Notizen," gives it with a minim—I with a crotchet; but neither of these can, to my mind, be made to suit the character of the movement. The minim increases it to so fearful a prestissimo as Beethoven could never have intended, since he desired theAssai, originally prefixed to theAllegro, to be omitted. The crotchet slackens the movement all too much; and although I have, in my edition, allowed Beethoven's numbers to remain, in deference to the great man, yet I would advise the player to hold a middle course, according to the following mark:half note= 116.—ED.[A]Ries gives the following account of this new bar:—All the "Initiated" must be interested in the striking fact which occurred respecting one of Beethoven's last solo-Sonatas (in B major, with the great Fugue Op. 106)—a Sonata which hasforty-one pages of print. Beethoven had sent it to me to London for sale, that it might appear there at the same time as in Germany. The engraving was completed, and I in daily expectation of the letter naming the day of publication. This arrived at last, but with the extraordinary "request,"—"Prefix the following two notes, as a first bar, to the beginning of the Adagio." This Adagio has from nine to ten pages in print. I own the thought struck me involuntarily, that all might not be right with my dear old master, a rumour to that effect having often been spread. What! addtwo notesto a composition already worked out and out, and completed six months ago? But my astonishment was yet to be heightened by theeffectof these two notes. Never could such be found again—so striking, so important—no, not even if contemplated at the very beginning of the composition. I would advise every true lover of the art to play this Adagio first without, and thenwiththese two notes, which now form the first bar, and I have no doubt he will share in my opinion.[B]This minim should be a crotchet—an error which originates either in a misprint in Dr. Wegeler's "Notizen," or in Beethoven's own manuscript letter to Ries.—ED.[186]How numerous his proposals! How much scope he leaves me! Was it in presentiment of the difficulties which would attend its sale?—RIES.[187]The plan for Beethoven's journey.[188]The letter, sealed in two places, as also the direction on the cover, were written in Beethoven's own hand. These were inclosed in a letter to me, and a cover put over the whole. Probably the address seemed so illegible to himself that he put a third cover over it, without removing the second one.—RIES.[189]Seventeen shillings: ten and a fifth florins.—RIES.[190]It has materially suffered during the last three years.[191]Beethoven received 25 guineas in a cheque of £26 5s., while the calculations were made in pounds.—RIES.[192]Mr. Neate did not succeed in disposing of these three Quartets (œuvres posthumes) to a publisher.—ED.[193]It was suggested that this Symphony should be performed at the musical festival at Aix-la-Chapelle. Beethoven, however, did not send it. The committee had written to him directly, but had received promises only. At last I wrote, and begged that, knowing him and his scores as well as I did, he would send me the original score, which I should be able to make out. I promised him at the same time (well aware of his constant want of money) another present, which I received for him some time after to the amount of forty louis-d'ors.—RIES.[194]Probably belonging to a dramatic piece, "The Ruins of Athens," written for a performance at Pesth.[195]When I left England I went to live at Godesberg, near Bonn, one of the most beautiful parts on the Rhine. I had invited Beethoven to come and see me there; and had pressed him to live at once with me, and in his native home, for some little time.—RIES.[196]From the Harmonicon, October, 1824.[197]Most of our readers will concur with us in thinking this a most eccentric mode of colouring musically so gentle a word.[198]This passage has puzzled many a leader and conductor, and many have altered it thus:—musical notationED.[199]Beethoven being in the box of a much esteemed lady during the performance of "La Molinara," she said, on hearing the well-known "Nel cor più," "I had some variations on this subject, but have lost them." Beethoven, the same night, wrote the six Variations on this subject, and the next morning sent them to the lady, writing upon them, "Variazioni, &c., perdute da——, retrovate du Luigi v. B." They are so easy that the lady might well have played them at first sight.—WEGELER.[200]As it proves to be in our days, where it is always the one most admired.[201]Consequently after his hearing had been impaired.—WEGELER.[202]Manu propria, with his own hand.[203]A music-seller at Vienna.[204]A village in a romantic country, about three miles from Vienna.[205]Towards the latter end of 1826.[206]In answer to the above, I informed Mr. Rau, in the name of the Philharmonic Society, that the money having been sent for the express purpose, and on condition that Beethoven himself should make use of it, the Society would, now that the event had taken place before the end in view could be achieved, expect the money to be returned.—ED.[207]The above-mentioned enclosure from the guardian (Mr. Hotschilar, imperial notary) urges still more forcibly all that Mr. Rau hints confidentially, with the request that I would lay before the Philharmonic Society the case of young Beethoven (then under age), and earnestly solicit that body not to reclaim the one thousand florins, but, in honour of the great deceased, allow the small patrimony, which he spared no sacrifice in securing for his nephew, to remain untouched. I complied with Mr. Hotschilar's request, and the Society gave its tacit consent by relinquishing all further proceedings: thus doing homage to the great man even in death.—ED.[208]Given in the following pages.—ED.[209]The original MS. of this curious production is in the possession of Mr. Haslinger, and prized as a relic of no common kind.—ED.[210]This gentleman, who stands in high repute as a professor of music at Bonn, has made himself so meritoriously known as a teacher of harmony and counterpoint, that the honour of instructing H. R. H. Prince Albert, while at the University of Bonn, in that branch of the art, devolved upon him.[211]From the Harmonicon, April, 1828.[212]This work has indeed been published.—ED.[213]M. Schindler has informed us that this valuable collection was bought by Haslinger for 100 florins, about £10 sterling—a price which would not seem to bespeak much spirit in the rival bidders; and the writer of the above account of the sale adds, in a note, that the purchaser almost immediately advertised it for sale in the Leipzig Musical Gazette, price 450 florins, or £45.—TRANSLATOR.
[157]The date of the year is wanting, but it is most probably 1800.
[157]The date of the year is wanting, but it is most probably 1800.
[158]Bonn had, through the war, lost its prince, the court, the administrative body—in fact, all its resources. It never had any trade or manufactures.
[158]Bonn had, through the war, lost its prince, the court, the administrative body—in fact, all its resources. It never had any trade or manufactures.
[159]Beethoven was most easily excited, and consequently very irritable; but when the first burst of passion had subsided, he had an open ear and a yielding heart for the reproofs of his friends. He would consequently be much more contrite than the occasion warranted. I have now before me a note of his which I received at Vienna, and which runs thus:—"What an abominable picture of myself you have shown me! Oh! I feel it: I am not worthy of your friendship. I did not meditate a base action: it was thoughtlessness which urged me to my unpardonable conduct towards you." Thus he fills three pages; and this is the end:—"But no more. I fly to you, and in an embrace ask for my lost friend; and you will restore him to me—to your contrite, faithful, and loving friend, BEETHOVEN." The two letters to Mlle. von Breuning, as above quoted, are of the same tenor. He had quarrelled with Stephen von Breuning (as with what friend did he not quarrel?), but, being made sensible ofhis grievous wrong, he wrote and acted in the same way, upon which the most heartfelt reconciliation took place; and the sincerest friendship subsisted uninterruptedly between them until Beethoven's death.
[159]Beethoven was most easily excited, and consequently very irritable; but when the first burst of passion had subsided, he had an open ear and a yielding heart for the reproofs of his friends. He would consequently be much more contrite than the occasion warranted. I have now before me a note of his which I received at Vienna, and which runs thus:—"What an abominable picture of myself you have shown me! Oh! I feel it: I am not worthy of your friendship. I did not meditate a base action: it was thoughtlessness which urged me to my unpardonable conduct towards you." Thus he fills three pages; and this is the end:—"But no more. I fly to you, and in an embrace ask for my lost friend; and you will restore him to me—to your contrite, faithful, and loving friend, BEETHOVEN." The two letters to Mlle. von Breuning, as above quoted, are of the same tenor. He had quarrelled with Stephen von Breuning (as with what friend did he not quarrel?), but, being made sensible ofhis grievous wrong, he wrote and acted in the same way, upon which the most heartfelt reconciliation took place; and the sincerest friendship subsisted uninterruptedly between them until Beethoven's death.
[160]The bark of daphne mezereum.
[160]The bark of daphne mezereum.
[161]John Adam Schmidt, councillor, &c. &c., oculist, and author of several classical works.
[161]John Adam Schmidt, councillor, &c. &c., oculist, and author of several classical works.
[162]I lived in close and friendly intimacy with Schmidt and Hunczovsky up to their death. The former wrote under his portrait, which he sent me,—"Cogitare et esse sui, idem est. Wegelero suo Schmidt."
[162]I lived in close and friendly intimacy with Schmidt and Hunczovsky up to their death. The former wrote under his portrait, which he sent me,—
"Cogitare et esse sui, idem est. Wegelero suo Schmidt."
[163]My brother-in-law Stephen Breuning, Ferdinand Ries, Bernard Romberg, and myself, have been taught by experience that Beethoven was ever a slave to the tender passion, and that in the highest degree. His and Stephen Breuning's first love was Mlle. Jeannette d'Honrath, of Cologne, who often spent some weeks at the residence of the Breunings. She was as fair as lively, engaging and amiable, had a beautiful voice, and delighted in music. She often used to sing, in derision, to our friend, the well-known song:—"What! part with thee this very day?My heart a thousand times says nay,And yet I know I must not stay."The happy rival was Major Greth, of Cologne, who married the fair lady. This attachment of Beethoven's was followed by one for the amiable Mlle. W——; and it is but three years since B. Romberg told me many anecdotes of this Werther-like love. Neither this nor any of the former inclinations left any lasting impression upon his own mind or that of the fair ones. Beethoven was a great favourite at Vienna, and perhaps more so than many an Adonis might be; and I will leave connoisseurs and dilettanti to judge whether "Adelaide," "Fidelio," and many other things, could have been written if the author had not experienced those feelings which they so admirably depict. But let us take the author's word for it, as given in this letter, that hewasswayed by love. To the best of my knowledge, his affections were generally placed in the higher ranks.
[163]My brother-in-law Stephen Breuning, Ferdinand Ries, Bernard Romberg, and myself, have been taught by experience that Beethoven was ever a slave to the tender passion, and that in the highest degree. His and Stephen Breuning's first love was Mlle. Jeannette d'Honrath, of Cologne, who often spent some weeks at the residence of the Breunings. She was as fair as lively, engaging and amiable, had a beautiful voice, and delighted in music. She often used to sing, in derision, to our friend, the well-known song:—
The happy rival was Major Greth, of Cologne, who married the fair lady. This attachment of Beethoven's was followed by one for the amiable Mlle. W——; and it is but three years since B. Romberg told me many anecdotes of this Werther-like love. Neither this nor any of the former inclinations left any lasting impression upon his own mind or that of the fair ones. Beethoven was a great favourite at Vienna, and perhaps more so than many an Adonis might be; and I will leave connoisseurs and dilettanti to judge whether "Adelaide," "Fidelio," and many other things, could have been written if the author had not experienced those feelings which they so admirably depict. But let us take the author's word for it, as given in this letter, that hewasswayed by love. To the best of my knowledge, his affections were generally placed in the higher ranks.
[164]This alludes to a violent quarrel which arose between the composer and his friend, about some lodgings which the latter had taken for him.
[164]This alludes to a violent quarrel which arose between the composer and his friend, about some lodgings which the latter had taken for him.
[165]Ries then lived at a tailor's, who had beautiful daughters.
[165]Ries then lived at a tailor's, who had beautiful daughters.
[166]My lot in this particular was that of his pupil Ries. The dedication was made by letter only; but are not such letters of greater value?
[166]My lot in this particular was that of his pupil Ries. The dedication was made by letter only; but are not such letters of greater value?
[167]This alludes to what will appear by and by in Ries's sketches.
[167]This alludes to what will appear by and by in Ries's sketches.
[168]Beethoven was here mistaken. It was not a song of his composition which he no longer possessed, but merely new words put to Matthisson's Ode. I did the same thing with an early song of Beethoven's—"Who is a free man?" (Wer ist ein freier Mann?) Beethoven wished to have words for the theme of those Variations with which the grand Sonata, Op. 26, dedicated to Prince Lichnowsky, commences. My attempt did not however satisfy me: thus he never saw it.
[168]Beethoven was here mistaken. It was not a song of his composition which he no longer possessed, but merely new words put to Matthisson's Ode. I did the same thing with an early song of Beethoven's—"Who is a free man?" (Wer ist ein freier Mann?) Beethoven wished to have words for the theme of those Variations with which the grand Sonata, Op. 26, dedicated to Prince Lichnowsky, commences. My attempt did not however satisfy me: thus he never saw it.
[169]Joseph Simrock, music publisher, the head of the present house.
[169]Joseph Simrock, music publisher, the head of the present house.
[170]"Dessiné par Letronne, et gravé par Hoefel, 1814. For my friend Wegeler. Vienna, March 27, 1815. Ludw. van Beethoven." Our mutual friend, Director Eichhoff, brought it away for me after the congress.
[170]"Dessiné par Letronne, et gravé par Hoefel, 1814. For my friend Wegeler. Vienna, March 27, 1815. Ludw. van Beethoven." Our mutual friend, Director Eichhoff, brought it away for me after the congress.
[171]Beethoven was educating the son of his brother Caspar, who had died the preceding year.
[171]Beethoven was educating the son of his brother Caspar, who had died the preceding year.
[172]Beethoven was then living at Bonn, in the Wenzel Street.
[172]Beethoven was then living at Bonn, in the Wenzel Street.
[173]The reader may judge hereby what to think of Beethoven's contempt of such distinctions.
[173]The reader may judge hereby what to think of Beethoven's contempt of such distinctions.
[174]A month before his death.
[174]A month before his death.
[175]I had, if my memory serves me, reminded him of Blumauer, who lived many years after having been tapped. I proposed to him to fetch him from the Bohemian baths, take him by a circuitous route to the Upper Rhine, and then down to Coblentz, where he was finally to recover.
[175]I had, if my memory serves me, reminded him of Blumauer, who lived many years after having been tapped. I proposed to him to fetch him from the Bohemian baths, take him by a circuitous route to the Upper Rhine, and then down to Coblentz, where he was finally to recover.
[176]On the portrait stands,abovehis name, "To my long tried and much beloved friend, F. G. Wegeler." There is no date affixed.
[176]On the portrait stands,abovehis name, "To my long tried and much beloved friend, F. G. Wegeler." There is no date affixed.
[177]I am indebted to the kindness of Mr. Neate for the following correspondence, which succeeded the acquaintance formed between the two at Vienna in the year 1815; and, as will be seen, includes a letter from Mr. Neate in elucidation of a misunderstanding which had arisen between them. Beethoven's letters to Ries I extract from Dr. Wegeler's Notices, &c.—ED.
[177]I am indebted to the kindness of Mr. Neate for the following correspondence, which succeeded the acquaintance formed between the two at Vienna in the year 1815; and, as will be seen, includes a letter from Mr. Neate in elucidation of a misunderstanding which had arisen between them. Beethoven's letters to Ries I extract from Dr. Wegeler's Notices, &c.—ED.
[178]Mr. Neate was at the time one of the directors of the Philharmonic Society.—ED.
[178]Mr. Neate was at the time one of the directors of the Philharmonic Society.—ED.
[179]This is the title on the piano-forte score.—(Beethoven's own note).
[179]This is the title on the piano-forte score.—(Beethoven's own note).
[180]The reader will perceive that I have given this letter without attempting to correct its orthography, conceiving it to be one of those cases where the original imperfection rather adds to than diminishes the interest of the document.—ED.
[180]The reader will perceive that I have given this letter without attempting to correct its orthography, conceiving it to be one of those cases where the original imperfection rather adds to than diminishes the interest of the document.—ED.
[181]This letter, not written but signed in Beethoven's own handwriting, is here given in the original English text.—ED.
[181]This letter, not written but signed in Beethoven's own handwriting, is here given in the original English text.—ED.
[182]These were dedicated by the author to Mr. Neate.—ED.
[182]These were dedicated by the author to Mr. Neate.—ED.
[183]This letter cannot be produced.—ED.
[183]This letter cannot be produced.—ED.
[184]In consequence of this offer, the Philharmonic Society ordered a Symphony for one hundred guineas, and he accordingly sent them his Ninth Symphony.—ED.
[184]In consequence of this offer, the Philharmonic Society ordered a Symphony for one hundred guineas, and he accordingly sent them his Ninth Symphony.—ED.
[185]I have, in my edition of this Sonata, marked the time of the first movement 138 of Maelzel's Metronome, because Beethoven himself had fixed that number. He, according to "Wegeler's Notizen," gives it with a minim—I with a crotchet; but neither of these can, to my mind, be made to suit the character of the movement. The minim increases it to so fearful a prestissimo as Beethoven could never have intended, since he desired theAssai, originally prefixed to theAllegro, to be omitted. The crotchet slackens the movement all too much; and although I have, in my edition, allowed Beethoven's numbers to remain, in deference to the great man, yet I would advise the player to hold a middle course, according to the following mark:half note= 116.—ED.
[185]I have, in my edition of this Sonata, marked the time of the first movement 138 of Maelzel's Metronome, because Beethoven himself had fixed that number. He, according to "Wegeler's Notizen," gives it with a minim—I with a crotchet; but neither of these can, to my mind, be made to suit the character of the movement. The minim increases it to so fearful a prestissimo as Beethoven could never have intended, since he desired theAssai, originally prefixed to theAllegro, to be omitted. The crotchet slackens the movement all too much; and although I have, in my edition, allowed Beethoven's numbers to remain, in deference to the great man, yet I would advise the player to hold a middle course, according to the following mark:half note= 116.—ED.
[A]Ries gives the following account of this new bar:—All the "Initiated" must be interested in the striking fact which occurred respecting one of Beethoven's last solo-Sonatas (in B major, with the great Fugue Op. 106)—a Sonata which hasforty-one pages of print. Beethoven had sent it to me to London for sale, that it might appear there at the same time as in Germany. The engraving was completed, and I in daily expectation of the letter naming the day of publication. This arrived at last, but with the extraordinary "request,"—"Prefix the following two notes, as a first bar, to the beginning of the Adagio." This Adagio has from nine to ten pages in print. I own the thought struck me involuntarily, that all might not be right with my dear old master, a rumour to that effect having often been spread. What! addtwo notesto a composition already worked out and out, and completed six months ago? But my astonishment was yet to be heightened by theeffectof these two notes. Never could such be found again—so striking, so important—no, not even if contemplated at the very beginning of the composition. I would advise every true lover of the art to play this Adagio first without, and thenwiththese two notes, which now form the first bar, and I have no doubt he will share in my opinion.
[A]Ries gives the following account of this new bar:—All the "Initiated" must be interested in the striking fact which occurred respecting one of Beethoven's last solo-Sonatas (in B major, with the great Fugue Op. 106)—a Sonata which hasforty-one pages of print. Beethoven had sent it to me to London for sale, that it might appear there at the same time as in Germany. The engraving was completed, and I in daily expectation of the letter naming the day of publication. This arrived at last, but with the extraordinary "request,"—"Prefix the following two notes, as a first bar, to the beginning of the Adagio." This Adagio has from nine to ten pages in print. I own the thought struck me involuntarily, that all might not be right with my dear old master, a rumour to that effect having often been spread. What! addtwo notesto a composition already worked out and out, and completed six months ago? But my astonishment was yet to be heightened by theeffectof these two notes. Never could such be found again—so striking, so important—no, not even if contemplated at the very beginning of the composition. I would advise every true lover of the art to play this Adagio first without, and thenwiththese two notes, which now form the first bar, and I have no doubt he will share in my opinion.
[B]This minim should be a crotchet—an error which originates either in a misprint in Dr. Wegeler's "Notizen," or in Beethoven's own manuscript letter to Ries.—ED.
[B]This minim should be a crotchet—an error which originates either in a misprint in Dr. Wegeler's "Notizen," or in Beethoven's own manuscript letter to Ries.—ED.
[186]How numerous his proposals! How much scope he leaves me! Was it in presentiment of the difficulties which would attend its sale?—RIES.
[186]How numerous his proposals! How much scope he leaves me! Was it in presentiment of the difficulties which would attend its sale?—RIES.
[187]The plan for Beethoven's journey.
[187]The plan for Beethoven's journey.
[188]The letter, sealed in two places, as also the direction on the cover, were written in Beethoven's own hand. These were inclosed in a letter to me, and a cover put over the whole. Probably the address seemed so illegible to himself that he put a third cover over it, without removing the second one.—RIES.
[188]The letter, sealed in two places, as also the direction on the cover, were written in Beethoven's own hand. These were inclosed in a letter to me, and a cover put over the whole. Probably the address seemed so illegible to himself that he put a third cover over it, without removing the second one.—RIES.
[189]Seventeen shillings: ten and a fifth florins.—RIES.
[189]Seventeen shillings: ten and a fifth florins.—RIES.
[190]It has materially suffered during the last three years.
[190]It has materially suffered during the last three years.
[191]Beethoven received 25 guineas in a cheque of £26 5s., while the calculations were made in pounds.—RIES.
[191]Beethoven received 25 guineas in a cheque of £26 5s., while the calculations were made in pounds.—RIES.
[192]Mr. Neate did not succeed in disposing of these three Quartets (œuvres posthumes) to a publisher.—ED.
[192]Mr. Neate did not succeed in disposing of these three Quartets (œuvres posthumes) to a publisher.—ED.
[193]It was suggested that this Symphony should be performed at the musical festival at Aix-la-Chapelle. Beethoven, however, did not send it. The committee had written to him directly, but had received promises only. At last I wrote, and begged that, knowing him and his scores as well as I did, he would send me the original score, which I should be able to make out. I promised him at the same time (well aware of his constant want of money) another present, which I received for him some time after to the amount of forty louis-d'ors.—RIES.
[193]It was suggested that this Symphony should be performed at the musical festival at Aix-la-Chapelle. Beethoven, however, did not send it. The committee had written to him directly, but had received promises only. At last I wrote, and begged that, knowing him and his scores as well as I did, he would send me the original score, which I should be able to make out. I promised him at the same time (well aware of his constant want of money) another present, which I received for him some time after to the amount of forty louis-d'ors.—RIES.
[194]Probably belonging to a dramatic piece, "The Ruins of Athens," written for a performance at Pesth.
[194]Probably belonging to a dramatic piece, "The Ruins of Athens," written for a performance at Pesth.
[195]When I left England I went to live at Godesberg, near Bonn, one of the most beautiful parts on the Rhine. I had invited Beethoven to come and see me there; and had pressed him to live at once with me, and in his native home, for some little time.—RIES.
[195]When I left England I went to live at Godesberg, near Bonn, one of the most beautiful parts on the Rhine. I had invited Beethoven to come and see me there; and had pressed him to live at once with me, and in his native home, for some little time.—RIES.
[196]From the Harmonicon, October, 1824.
[196]From the Harmonicon, October, 1824.
[197]Most of our readers will concur with us in thinking this a most eccentric mode of colouring musically so gentle a word.
[197]Most of our readers will concur with us in thinking this a most eccentric mode of colouring musically so gentle a word.
[198]This passage has puzzled many a leader and conductor, and many have altered it thus:—musical notationED.
[198]This passage has puzzled many a leader and conductor, and many have altered it thus:—
musical notation
ED.
[199]Beethoven being in the box of a much esteemed lady during the performance of "La Molinara," she said, on hearing the well-known "Nel cor più," "I had some variations on this subject, but have lost them." Beethoven, the same night, wrote the six Variations on this subject, and the next morning sent them to the lady, writing upon them, "Variazioni, &c., perdute da——, retrovate du Luigi v. B." They are so easy that the lady might well have played them at first sight.—WEGELER.
[199]Beethoven being in the box of a much esteemed lady during the performance of "La Molinara," she said, on hearing the well-known "Nel cor più," "I had some variations on this subject, but have lost them." Beethoven, the same night, wrote the six Variations on this subject, and the next morning sent them to the lady, writing upon them, "Variazioni, &c., perdute da——, retrovate du Luigi v. B." They are so easy that the lady might well have played them at first sight.—WEGELER.
[200]As it proves to be in our days, where it is always the one most admired.
[200]As it proves to be in our days, where it is always the one most admired.
[201]Consequently after his hearing had been impaired.—WEGELER.
[201]Consequently after his hearing had been impaired.—WEGELER.
[202]Manu propria, with his own hand.
[202]Manu propria, with his own hand.
[203]A music-seller at Vienna.
[203]A music-seller at Vienna.
[204]A village in a romantic country, about three miles from Vienna.
[204]A village in a romantic country, about three miles from Vienna.
[205]Towards the latter end of 1826.
[205]Towards the latter end of 1826.
[206]In answer to the above, I informed Mr. Rau, in the name of the Philharmonic Society, that the money having been sent for the express purpose, and on condition that Beethoven himself should make use of it, the Society would, now that the event had taken place before the end in view could be achieved, expect the money to be returned.—ED.
[206]In answer to the above, I informed Mr. Rau, in the name of the Philharmonic Society, that the money having been sent for the express purpose, and on condition that Beethoven himself should make use of it, the Society would, now that the event had taken place before the end in view could be achieved, expect the money to be returned.—ED.
[207]The above-mentioned enclosure from the guardian (Mr. Hotschilar, imperial notary) urges still more forcibly all that Mr. Rau hints confidentially, with the request that I would lay before the Philharmonic Society the case of young Beethoven (then under age), and earnestly solicit that body not to reclaim the one thousand florins, but, in honour of the great deceased, allow the small patrimony, which he spared no sacrifice in securing for his nephew, to remain untouched. I complied with Mr. Hotschilar's request, and the Society gave its tacit consent by relinquishing all further proceedings: thus doing homage to the great man even in death.—ED.
[207]The above-mentioned enclosure from the guardian (Mr. Hotschilar, imperial notary) urges still more forcibly all that Mr. Rau hints confidentially, with the request that I would lay before the Philharmonic Society the case of young Beethoven (then under age), and earnestly solicit that body not to reclaim the one thousand florins, but, in honour of the great deceased, allow the small patrimony, which he spared no sacrifice in securing for his nephew, to remain untouched. I complied with Mr. Hotschilar's request, and the Society gave its tacit consent by relinquishing all further proceedings: thus doing homage to the great man even in death.—ED.
[208]Given in the following pages.—ED.
[208]Given in the following pages.—ED.
[209]The original MS. of this curious production is in the possession of Mr. Haslinger, and prized as a relic of no common kind.—ED.
[209]The original MS. of this curious production is in the possession of Mr. Haslinger, and prized as a relic of no common kind.—ED.
[210]This gentleman, who stands in high repute as a professor of music at Bonn, has made himself so meritoriously known as a teacher of harmony and counterpoint, that the honour of instructing H. R. H. Prince Albert, while at the University of Bonn, in that branch of the art, devolved upon him.
[210]This gentleman, who stands in high repute as a professor of music at Bonn, has made himself so meritoriously known as a teacher of harmony and counterpoint, that the honour of instructing H. R. H. Prince Albert, while at the University of Bonn, in that branch of the art, devolved upon him.
[211]From the Harmonicon, April, 1828.
[211]From the Harmonicon, April, 1828.
[212]This work has indeed been published.—ED.
[212]This work has indeed been published.—ED.
[213]M. Schindler has informed us that this valuable collection was bought by Haslinger for 100 florins, about £10 sterling—a price which would not seem to bespeak much spirit in the rival bidders; and the writer of the above account of the sale adds, in a note, that the purchaser almost immediately advertised it for sale in the Leipzig Musical Gazette, price 450 florins, or £45.—TRANSLATOR.
[213]M. Schindler has informed us that this valuable collection was bought by Haslinger for 100 florins, about £10 sterling—a price which would not seem to bespeak much spirit in the rival bidders; and the writer of the above account of the sale adds, in a note, that the purchaser almost immediately advertised it for sale in the Leipzig Musical Gazette, price 450 florins, or £45.—TRANSLATOR.