No. VI.

No. VI.BEETHOVEN'S LAST MOMENTS.The Property found after his Death.CORRESPONDENCErelative to the gift made to Beethoven by the Philharmonic Society of London.1.Mr. Schindler to Mr. Moscheles.Vienna, March 24, 1827.My dear good Moscheles,You must not be surprised at the difference of date between these two letters. I wished to retain Beethoven's for a few days, because, on the day after that letter was written,i. e.the 19th of March, we had every reason to fear that our great master was about to breathe his last. This event, however, has not yet happened, but by the time you read these lines, my good Moscheles, our friend will be no longer among the living. His dissolution approaches with rapid steps, and indeed it is the unanimous wish of us all to see him released from his dreadful sufferings. Nothing else remains to be hoped for. One may indeed say that, for the lasteight days, he has been more like a dead than living man, being able only now and then to muster sufficient strength to ask a question, or to inquire for what he wanted. His condition appears, to all accounts, to be very similar to that which was lately endured by the Duke of York. He is in an almost constant state of insensibility, or rather of stupor; his head hanging down on his chest, and his eyes staringly fixed for hours upon the same spot. He seldom recognises his most intimate acquaintances, and requires to be told who stands before him. This is dreadful to behold, but only for a few days longer can such a state of things last: since yesterday all the natural functions of the body have ceased; he will, therefore, please God, soon be released, and we shall no longer have to behold his sufferings.Crowds of people flock to his abode, to see him for the last time, though none are admitted, except those who are bold and audacious enough to molest the dying man in his last hours.We have been so fortunate as to arrange everything respecting his last will, though there is hardly anything left but a few pieces of old furniture and some manuscripts. He had in hand a Quintett for stringed instruments, and the tenth Symphony, of which he makes mention in his letter to you. Ofthe Quintett there are two movements entirely finished, and it was intended for Diabelli.[203]The day immediately succeeding the receipt of your letter he was in extremely good spirits, and talked much of the plan of the Symphony, which was to have proved so much the more grand, as it was intended for the Philharmonic Society. He has frequently spoken of a journey to England as soon as he should recover, and had calculated how he and myself could live most economically on the tour. But, good God! his journey will probably lead him much further than to England. When he found himself a little relieved, he amused himself with reading the ancient Greek authors; also several of Walter Scott's novels. As soon as your consolatory letter had reached him, all his melancholy thoughts, and all his dread of future misery at once vanished. He cheerfully said, "Now we may again occasionally treat ourselves with a merry day." His funds had been already nearly exhausted, and he had consequently been obliged for some time past to retrench his table, which grieved him more than anything else. He immediately desired to have his favourite dish of fish, even if it were only that he might taste of it. The exaltation of his mind is indeed so great, that he at times borders upon the childish. We were also obliged to procure for him a great arm-chair, which cost fifty florins, on which he rests daily at least for half an hour, whilst his room and bed are arranging. His caprice, or rather obstinacy, are, however, excessive; just as ever: and this falls particularly hard upon me, since he wishes to have absolutely nobody about him but myself. And what remained for me to do in this, but to give up my teaching and my whole business, in order to devote all my time to him? Everything he eats or drinks I must taste first, to ascertain whether it might not be injurious for him. However willingly I do all this, yet this state of things lasts too long for a poor devil like myself. Whatever there remains of the thousand florins, we intend to apply in defraying the expenses of a respectable interment, which shall be performed without parade in the churchyard near Döbling,[204]where he ever delighted to roam.As early as during your last visit to this city,[205]I stated to you the condition of Beethoven's finances, but did not at that time apprehend that we were to see this excellent man so soon arrive, and thus miserably too, at his last moment.[Interval of some hours.]I have just left Beethoven. He is certainly dying; before this letter is beyond the walls of the city, the great light will have become extinct for ever. He is still in full possession of his senses. The enclosed lock I have just cut from his head. I hasten to despatch the letter, in order to run to him. God bless you!Your most sincere friend,A. Schindler.2.Mr. Rau to Mr. Moscheles.Vienna, March 28th, 1827.Dear Friend,Beethoven is no more; he departed this life, in a most painful struggle and with dreadful sufferings, on the 26th instant, between five and six o'clockP.M., after having been insensible for the last twenty-four hours.And now as to the state of his affairs. My last letter to you spoke of nothing but the extreme want and poverty in which he was, according to his own statements, and yet, when an inventory of his effects was taken, in my presence, we found, in an old, half-mouldybox, no less than seven bank-shares. Whether Beethoven had hidden these intentionally (for he was naturally mistrustful, and hoped for a speedy recovery), or whether their possession had escaped his own memory, is a problem which I do not venture to solve.The sum of one thousand florins, as sent by the Philharmonic Society, was found untouched. I laid claim to it in conformity with your instructions, but was obliged to deposit it with the magistrates until further notice from the Society as to its final disposal. I would not consent to their defraying the burial expenses out of this money without the Society's authorization to that effect. Should you have it in your power to dispose of any part of the money, pray let it be done in favour of the two old servants who have attended the patient with the utmost care and devotedness, and who—poor faithful creatures!—have been entirely forgotten in the will, Beethoven's nephew being named his sole heir.[206]As to the present which Beethoven intended sending to the Philharmonic Society, you will hearof it in due time from Mr. Schindler. Let me know soon and circumstantially what steps I am to take, and you may rely upon my conscientiousness in fulfilling your wishes. Beethoven will be buried on the 29th, and an invitation to attend the funeral has been sent to all professors of the different chapels and theatres. The body will be borne by twenty composers, and as many more will be torch-bearers; Grillparzer has written a most affecting address to be spoken by Anschütz at the grave; indeed, everything which could be done to render the solemnity worthy of the deceased seems to be in preparation. * * * * * * * * * * * * *Your friend,RAU.3.Extract of a Letter fromMr. Schindler to Mr. Moscheles.Vienna, September 14th, 1827.My dear Friend,I avail myself of the departure for London of Mr. Levisey, the English courier, to write, and also intrust to his care a memorial of our friend Beethoven,since in your last you wished for a manuscript of some well-known composition of the great master: well, here is the end of the Scherzo of the last Symphony, and along with it one of those memorable sketch-books which Beethoven used mostly to fill in the open air, and afterwards to write his scores from them at home; I was so fortunate as to rescue several of them, and to me they are of the deepest interest, since they are scarcely intelligible to the uninitiated. I must tell you that the one I send contains sketches of one of his last Quartetts; and should you ever hear that work, you will no doubt recognise some of the passages, written down at full length. I believe I cannot better prove you my friendship than by sending you this relic, the first and only one I shall ever part with. Mr. L——r informs me he has already sent you Beethoven's portrait; I trust it isthatlithograph in which he is represented sitting and writing, as all others are bad; on the sheet of paper before him standsMissa solemnis. I meant to send you all this together through Mr. Clementi, whose acquaintance I made at Baden, but he left before I was aware of it. * * * * * * *Most sincerely, your friend,A. Schindler.4.Mr. Rau to Mr. Moscheles.Vienna, February 15, 1828.Dear Friend,I send you enclosed a letter from the guardian of Beethoven's nephew, who is named his sole heir, by which you will see that matters are drawing to a close. I was requested, officially, to make a deposition respecting the thousand florins which the Philharmonic Society of London had given to Beethoven, but not having heard from you to that effect, and not wishing to take any responsibility upon myself, I requested a delay sufficient to allow of my writing and receiving your answer. The guardian's letter will at once show you how matters stand.[207]And now between ourselves. If youcouldinduce the directors to give up the thousand florinsit would save much trouble, and perhaps a lawsuit. Even Dr. Eltz and Baron Eskeles think it would be most difficult to identify the thousand florins found in Beethoven's possession at his death with those sent by the Society, the more so as Hofrath Breuning, who had been appointed to take the inventory, has died since. Should the money, however, contrary to all expectations, be required back again, it will be necessary for the Philharmonic Society to send Dr. Eltz a legal writ, empowering him to proceed for them, and at their expense: this might indeed eat up the whole sum. Pray writesoonandmost explicitly. * * * * * *Your friend,RAU.No. VII.Funeral Honours To Beethoven.THE29th of March, 1827, was fixed upon for the funeral of the lamented Beethoven. The following fac-simile of the card (on the opposite page) relative to the funeral may not be uninteresting to the reader.Translation of the Card."INVITATIONTOLUDWIG VAN BEETHOVEN'SFUNERAL,Which will take place on the 29th of March, at three o'clock inthe afternoon.———The company will assemble at the lodgings of the deceased, in theSchwarz-spanier House, No. 200, on the Glacis, before theScotch Gate.The procession will thence go to Trinity Church, at theFathers' Minorites in Alser Street.———The musical world sustained the irreparable loss of this celebratedcomposer about six o'clock in the evening of the26th of March, 1827.BEETHOVENdied of dropsy, in the 56th year of his age, afterreceiving the Holy Sacraments.The day of the exequies will be made known hereafter byL.VANBEETHOVEN'SAdmirers and Friends."EinladungThis card having been largely distributed, all the necessary arrangements for the funeral were made with the utmost zeal and promptitude by Mr. Haslinger, the music publisher, and Messrs. Schindler and Hart, friends of the deceased. The morning was fine; and at an early hour crowds of people began to assemble on the Glacis of Alservorstadt, the quarter of the town in which Beethoven resided. Towards the middle of the day, the numbers had increased to upwards of twenty thousand persons of all classes; and so great was the pressure round the residence of the deceased, that it was found necessary to close the gates of the court-yard, where, under an awning, stood the coffin raised upon a bier, and surrounded by mourners. At half-past four the procession began to move, the way having been cleared by a body of the military. Eight principal singers of the Opera-house—Eichberger, Schuster, Cramolini, A. Müller, Hoffmann, Rupprecht, Borschitzky, and A. Wranitzky—had offered to carry the coffin on their shoulders. After the priest had pronounced some prayers, the singers performed a highly impressive Funeral Chant by B. A. Weber, and the whole procession moved forward in the following order:—1. The cross-bearer; 2. Four trombone-players—the brothers Böck, Waidl, and Tuschky; 3. Themaster of the choir, M. Assmayer; and, under his direction, 4. A choir of singers—M. Tietze, Schnitzer, Gross, Sikora, Frühwald, Geissler, Rathmeyer, Kokrement, Fuchs, Nejebse, Ziegler, Perschl, Leidl, Weinkopf, Pfeiffer, and Seipelt, which, alternately with the trombone quartett, performed the Miserere. This walking orchestra was immediately followed by, 5. The high priest; 6. The coffin, borne by the above-mentioned opera-singers, and attended by the chapel-masters—- Eybler, Hummel, Seyfried, and Kreutzer, on the right, and Weigl, Gyrowetz, Gänsbacher, and Würfel, upon the left, as pall-bearers. On both sides, from the beginning of the procession to the coffin, were the torch-bearers, thirty-six in number, consisting of poets, authors, composers, and musicians, among whom were M. Grillparzer, Anschütz, Bernard, Castelli, Mayseder, C. Czerny, J. Böhm, Linke, Hildebrand, Schuppanzigh, Holz, Katter, Krall, Baron Lannoy, J. Merk, F. Schubert, Riotte, Schoberlechner, Steiner, Haslinger, Sig. Lablache, David, Radichi, Mechetti, Meric, Pacini, Meier, Schick, Schmidl, Streicher, Weidman, Wolfmeyer, C. Graf, Raimund, Piringer, Grünbaum, &c.; the whole in full mourning, with white roses and bunches of lilies fastened to the crape on their arms. Next followed Beethoven's brother, and M. vonBreuning, (one of the earliest friends of the deceased, and the executor of his last will,) the pupils of the Conservatorio, and the scholars of Kapellmeister Drechsler, (the thorough-bass teacher of St. Ann's,) all deeply lamenting the loss which the musical world had sustained.As the procession approached the church, theMiserere[208]was entoned to an original melody of the deceased, with an accompaniment of four trombones. The history of this striking composition is as follows:—When Beethoven was, in the autumn of 1812, visiting his brother, at the time an apothecary in Linz, he was requested by M. Glögll; Kapellmeister of the cathedral, to compose some movement of a solemn kind for the approaching festival of All Souls. Beethoven willingly undertook the task, and wrote a piece, entitledEquale a quatro Tromboni, remarkable for the originality of the harmonies, and its faithful imitation of the genuine antique style.[209]On the morning of the 26th of March, 1827, when all hope of Beethoven's recovery had been given over, Mr. Haslinger repaired with it to Kapellmeister Seyfried, with a request that he wouldadapt the words of the Miserere to thisEquale, that, the body of the prince of musicians might be accompanied to its everlasting rest by his own creations. M. Seyfried, in pursuance of this idea, undertook the work, which was finished the night following Beethoven's death, with infinite judgment and good taste. The movements were arranged for four voices (two tenors and two basses) and four trombones.On reaching the church, the body was placed on a bier at the foot of the high altar, when, after the usual prayers, was sung the solemn anthemLibera me Domine, de morte eterná, composed by Kapellmeister von Seyfried, in the genuine ecclesiastical style. On quitting the church, the coffin was placed in a hearse drawn by four horses, which proceeded towards the burial-ground at Währing, followed by a line of more than two hundred carriages. On reaching the gates of the cemetery, the following poem, from the pen of Grillparzer, was recited by Anschütz, the tragedian, in a very feeling manner:—'Tis done! A master-spirit of the ageHas pass'd away to his eternal rest:Henceforth his name belongs to history's page,Enroll'd with men the noblest and the best.Yet, though his name does to all time belong,Ye lately heard and saw the wond'rous man,Ye heard his living voice, his living song,And to receive his dying accents ran.Then deep in mem'ry treasure up his form:That brow, though stern, with sweetest fancies fraught,That eye with inspiration kindling warm,That bosom labouring with the force of thought.And ye, to whom it was not given to viewHis living lineaments with wond'ring eye,May in his tones behold him pictured true,In breathing colours that can never die.Yes: he could paint, in tones of magic force,The moody passions of the varying soul—Now winding round the heart with playful course,Now storming all the breast with wild control.Forthdrawing from his unexhausted store,'Twas his to bid the burden'd heart o'erflow:Infusing joys it never knew before,And melting it with soft luxurious woe!We came his funeral rite to celebrate,Obedient to fond love and duty's call;But on this moment such proud feelings wait,It seems a joyous birthday festival.He liveth! It is wrong to say he's dead:—The sun, though sinking in the fading west,Again shall issue from his morning bed,Like a young giant vigorous from his rest.He lives! for that is truly living, whenOur fame is a bequest from mind to mind:His life is in the breathing hearts of men,Transmitted to the latest of his kind.Baron von Schlechta and M. Castelli read short but eloquent poems to the sorrowing multitude, and, before the grave was closed, M. Haslinger put into the hands of M. Hummel three wreaths of laurel, which were dropped upon the coffin. The mourners waited till the earth was smoothedover the grave. All the visitants in turn took a last farewell of the mortal remains of a great genius, and returned home in silence, the shades of evening having by this time gathered around.On the 3rd of April, 1827, a solemn tribute was paid to the memory of Beethoven at the imperial church of St. Augustin by the performance of Mozart'sRequiem, in which the great singer Lablache sung the bass part, in a manner that produced a deep impression and shows him to be a profound artist: the whole terminated with the solemnMiserereandLiberaof Kapellmeister von Seyfried. On the 5th of April, 1827, was performed, in the church of St. Charles, the whole of Cherubini's celebratedRequiem, admirably executed under the direction of Kapellmeister Hummel. A musical performance also took place, by way of opening a subscription for a monument to Beethoven. It commenced with the celebrated Pastoral Symphony of the lamented master, which was followed by aKyriefrom his second Mass in D. From the Abbé Vogler's celebratedMissa pro defunctis, were given theDies iræ, theSanctus, andBenedictus. The whole closed with Catel's Overture toSemiramis. The selection was admirably performed, and the object proposed adequately fulfilled.LATIN EPITAPHSONBEETHOVEN'S TOMB.——————1.LUDOVICO . VAN . BEETHOVEN.Cujus.Ad . Triste . Mortis . Nuncium.Omnes . Flevere . Gentes.Plaudente.Coelitum . Choro.———2.IN TUMULUMLUDOVICI VANBEETHOVEN.FATOmortalis;VITAbonus;ARTEperennis,MORTEsuumMORIENSeximit ipse decus.musical notation MISERERE, PERFORMED AT BEETHOVEN'S FUNERAL, AT VIENNA, MARCH 29, 1827.musical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationAMPLIUS.musical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationmusical notationNo. VIII.Concert in aid of Beethoven's Monument at Drury Lane Theatre, July 19th, 1837.ITwas in the summer of the year 1837 that the citizens of Bonn, who had for the last two years been actively engaged in raising funds for the erection of a monument to Beethoven in his native city, addressed Lord Burghersh, through the Baron von Schlegel, president of their managing committee, in the following letter:—My Lord,Monsieur le Baron de Bulow has encouraged me to address your Lordship on behalf of the proposed monument to Ludwig van Beethoven, in his native town of Bonn. This project has been most favourably entertained in Germany: we have received the profits of many concerts given for this purpose in the small as well as large towns, besides private subscriptions; nevertheless, our means are still insufficient for the execution of a monument in all respects worthy of this great genius. Besides, his glory would remain imperfect if we did not obtainfor it some conspicuous support from abroad, and especially from London, which has become one of the principal places in Europe in which music is cultivated in the greatest perfection. A public concert, given in that capital, in aid of the monument to Beethoven, would complete our wishes.If a connoisseur and patron of talent like your Lordship would deign to encourage such an undertaking, distinguished artists will zealously assist, and the numerous admirers of Beethoven will not refuse their aid to do honour to his memory.Having had the honour, in former times, of being received by your Lordship, and of being present at your brilliant musical entertainments in Florence and in London, I gladly avail myself of this occasion to recal myself to your kind recollection; and I beg you to accept the expression of my devotion and of the great respect with whichI have the honour to be,My Lord,Your most obedient and humble servant,(Signed) A. W. DESCHLEGEL.Bonn, May 21st, 1837.Lord Burghersh, taking up the matter with the utmost zeal, addressed an appeal to the principal musical institutions of London, which in their turn showed their readiness to promote the object in view.At a meeting of the professors belonging to the Ancient Concert, the co-operation of the members of that body was unanimously granted, Mr. Knyvett and Mr. Cramer being deputed to act as its representatives. A like course was adopted by the Philharmonic Society, which nominated Sir George Smart and Mr. Moscheles in a similar capacity; Mr. Mori and Sig. Costa were appointed by the orchestra of the Italian Opera to express the adherence of that body; and Messrs. Potter and C. Lucas, at the suggestion of Lord Burghersh, on the part of the disposable forces of the Royal Academy. Several of the principal English and foreign vocalists then in London offered their co-operation with the utmost willingness and liberality. Mr. Bunn granted the use of Drury Lane Theatre, and on the 19th of July, 1837, under the management of a committee presided over by Lord Burghersh, assisted by the Right Hon. the Earl of Cawdor and the Right Hon. Sir Gore Ouseley, Bart., and formed of the members of the musical bodies above specified, a grand concert was given, the following account of which is extracted from the musical journals of the day.The performance which took place at DruryLane Theatre on Wednesday evening was but thinly attended, owing to a variety of causes, among which may be noticed the dissolution of Parliament and the approaching elections, the lateness of the season, and, we fear, the high terms demanded for admission, namely, half-a-guinea the boxes, seven shillings the pit, and five shillings the gallery. In a musical point of view it realised the highest expectations that could have been formed of it; for assuredly it was the noblest entertainment of this description that ever was given in England. But considered with respect to its object, it has unfortunately been a failure, the attendance having been too small to produce any substantial contribution to the fund. This circumstance must have, in some measure, diminished the enjoyment which the admirers of Beethoven derived from the performance of some of his greatest masterpieces. But it did not damp the ardour of the performers. They evidently exerted themselvescon amore; and we have never heard music performed with greater care, energy, or effect.Nothing could have surpassed the splendour of the orchestra on this occasion, which was erected upon the stage, and the back of it was as high as the second tier of boxes. The principal singers were arranged in front; the chorus, consisting of112 voices, on each side; the conductor in the centre. The band consisted of fifty violins, twelve violas, twelve violoncellos, eleven double basses, twenty-five wind instruments, &c., making a total of 110 instruments, and a grand total of about 230 performers. The soli performers were Mesdames Schrœder Devrient, Bishop, Knyvett, Birch, Wyndham; Messrs. Braham, Bennett, Balfe, Seguin, and H. Phillips. The conductors, Sir George Smart, Mr. Moscheles, and Mr. Knyvett; the leaders, Messrs. F. Cramer, Loder, and T. Cooke.The selection combined: Part I. The Mount of Olives. Part II. The Choral Symphony. Part III. Overture Egmont.—Canon from Fidelio.—Concerto in E flat (pianoforte, Mr. Moscheles).—Grand scena in E.—And Finale from Fidelio.The Mount of Olives, which formed the first act, was given entire for the first time in England. The solo parts were sung by Mrs. Knyvett, Mrs. Bishop, Miss Birch, Mr. Braham, Mr. Phillips, and Mr. Bennett. Braham was in perfect voice, and had his voice perfectly under his command. He sang, indeed, so well, that the principal performers in the orchestra could not refrain from offering him their friendly and hearty congratulations. The band was led by F. Cramer, and conducted by Sir George Smart.Beethoven's great Choral Symphony formed the second act. It was admirably performed, and received with immense applause. Schrœder sang with a power and truth which only the music and a kindred genius could have supported. Mr. Moscheles' performance of the noble Concerto, and his conducting the Choral Symphony, have been already mentioned in these pages. Both were beyond commendation. The choralists in "Here seize him," and the "Hallelujah," were very effective; the former (which is a similar movement to the pistol scene in the "Fidelio") was unanimously encored.So far the journals. That the pecuniary result of this concert should have fallen short of what might be anticipated from such a cause and such assistance, must have had its cause in the lateness of the season and the recent death of King William the Fourth. The clear profits of this concert, together with some donations, amounted to only 100l.! No doubt that many of Beethoven's admirers in England, who were prevented from attending this solemnity, would have taken a pride in honouring the memory of the great master under more favourable auspices.As to the proceedings of the Committee for the Beethoven Monument at Bonn, the following particularsmay not be uninteresting. The President of the Committee, Baron A. W. von Schlegel, having relinquished his office, owing to an accumulation of private business, Dr. Breidenstein[210]was elected in his stead. The Committee have been most successful in their appeal to the musical world throughout Europe, so that the expenses of the proposed Monument are now nearly covered. The sums received are the produce of concerts in more than fifty different towns, the receipts of a concert given by those eminent artists Thalberg and De Beriot, at Bonn, for the same purpose, and the generous donation of 10,000 francs from Liszt, who joined the Committee as an active member. Promises of concerts for the same purpose have been received from Vienna, Paris, Brussels, and other places.The Committee has already issued an address to artists, inviting them to send designs for the Monument before the 1st of March, 1841. From among the designs or sketches that shall be received, the three best will be selected by competent judges, and for each of them a premium of twenty fredericsd'or will be paid, upon condition that the authors of them, if required, will have models made of them, upon a reduced scale, and send them to the Committee.In order to insure perfect impartiality in the selection of the designs, the authors are requested to attach a motto to each, and to inclose the same motto in an envelop, together with the name and the address of the artist. The competition is open to artists of all countries. It is necessary to add the following remarks, as they may have an influence upon the work itself:—1. It is decided that the Monument, or rather the statue, which is to form the most essential part of it, shall be executed, not in marble, but in bronze.2. The sum which, at the commencement of next year, we shall have at our disposal amounts to about 13,000 dollars, Prussian currency; in addition to which contributions are announced, and confidently expected, from several of the most important German and European capitals.—ED.No. IX.Sale of Beethoven's MSS. and Musical Library.[211]Vienna, March 16, 1828.The sale of the lamented Beethoven's MSS. and musical library, which lately took place here, excited uncommon interest among the lovers of music, amateurs as well as professional men. The following are the heads under which the articles were arranged in the catalogue:—1. Fragments from Beethoven's musical portfolio, consisting of noted paper, scraps of various themes, &c. 2. Fragments and sketches in a more complete form. 3. Autographs of scores already published. 4. Autographs of unpublished music. 5. Copies of various Symphonies, Choruses, Overtures, Masses, &c., corrected by the composer's own hand. 6. Printed music and theoretical works. 7. A small collection of works of general literature. 8. A small collection of musical instruments. The contest for several of the articleswas warm and spirited, particularly between the well-known music-sellers Artaria, Haslinger, and Steiner. More than forty works, unknown to the public, were brought to the hammer, the greater part of which are productions of Beethoven's earlier years. No doubt the present possessors will, ere long, afford the world an opportunity of enjoying these works of the lamented master. We observed that the greater proportion of them became the property of Artaria, after a severe contest with his brother publishers; several fetched extraordinarily high prices. Besides a great many other articles, Beethoven's last work, an unfinished Quintett, begun in November, 1826, fell to the lot of Diabelli, who triumphantly bore it away, at a very high price, from a host of competitors. The same gentleman also became possessor of a Solo-Capriccio, of a Rondo for pianoforte and orchestra, and of the English pianoforte which Beethoven had received as a present from the Messrs. Broadwood. The gold medal which the composer had the honour to receive from Louis XVIII. on receiving the copy of one of his grand masses was bought by some anonymous collector. But by far the most interesting article of the whole sale fell to the lot of M. Haslinger—the collection of contrapuntic exercises, essays, and finished pieces, which Beethoven wrote while under the tuition of his master, the celebrated Albrechtsberger, all in his own handwriting, with the interlineal corrections of that master, and his remarks on the margin. It is in five thick volumes, which were evidently preserved with great care. The struggle for the possession of this invaluable relic—the fruit of Beethoven's first studies—was long and spirited; but the stamina of M. Haslinger brought him through: after many a fiercely-contested round, he was at length declared the victor, none of his antagonists coming to time. We are happy to be able to state that this collection of studies,[212]so interesting to the whole musical world, is immediately to be placed in the hands of Kapellmeister Seyfried, who is to prepare it for the press. M. Haslinger also became the fortunate possessor of a pianoforte Trio, consisting of an Allegro, Adagio, Finale, and Variations, composed while Beethoven filled the place of organist in Cologne; of a short Sonata for four hands; of several songs and other vocal pieces; of a small collection, entitledZapfenstreiche für Türkische Musik; of two violins, with the possessor's seal on each; and lastly, of Beethoven's copy of the works of Handel, Dr. Arnold's edition, in forty volumes folio. The latter, as is well known, was presentedto the lamented composer by his friend M. Stumpff, of London, the possession of which tended so much to soothe Beethoven during his last protracted illness. The mind and talents of Handel were kindred to his own, and he was seen for hours hanging over these volumes in rapture and forgetting his sufferings. Two other competitors contended warmly for this prize—M. Gläser of Gotha, and Mr. Schenk, the well-known composer ofDer Dorfbarbier; but M. Haslinger still retained his honours as champion of the field.[213]We must, however, observe, that, warm as the opposition was between these different opponents, the contest was still conducted with becoming respect—not to say with a certain solemnity due to the relics of the mighty dead. Some of the prices given astonished even the most enthusiastic admirers of the composer, and are the most satisfactory proofs of the deep zeal and love for the art predominant among us.Nº 2.First Sketches of the Vocal Subjects of Beethoven's 9th Symphony.Nº 2. First Sketches of the Vocal Subjects of Beethoven's 9th Symphony.musical notationSYSTEMATIC CATALOGUEOFALL THE ORIGINAL WORKSBYLUDWIG VON BEETHOVEN,AS PUBLISHED BY T. HASLINGER, FROM VIENNA.A.—PIANO FORTE MUSIC.———I.—SONATAS.FOR THE PIANO FORTE ALONE.No.Op.1.Sonatain E flat2."in D3."in F minor4."in F minor25."in A26."in C27."in E flat78."in C minor109."in F1010"in D1011"in C minor1312"in E1413"in G1414"in B flat2215"in A flat2616"in C sharp minor2717"in E flat2718"in D2819"in G2920"in D minor2921"in E flat2922"in G minor4923"in G4924"in C5325"in F5426"in F minor5727"in F sharp7828"in G7929"in E flat8130"in E minor9031"in A10132"in B flat10633"in E10934"in A flat11035"in C minor111II.—MISCELLANEOUS PIECES,FOR THE PIANO FORTE ALONE.1.Andante favori, in F352.Bagatelles in F333." "1044." "1265.Fantasie in G minor776.Polonaise in C897.Preludes in C298.Rondo in C519." in G5110." in G (for Pianoforte and Violin)11.Dances (Seven Waltzes)12." (Six Waltzes)13." (Minuets and Waltzes)III.—VARIATIONSFOR THE PIANO-FORTE, WITH AND WITHOUT ACCOMPANIMENTS.1.—For the Piano-forte alone.No.Op.1.Variations(Thême de Marche)2."(Quant' è più bello)3."(Nel cor più non)4."(Nozze disturbate)5."(Waldmädchen)6."(Mich brennt ein)7."(Air russe)8."(Tändeln und Scherzen)9."(La Stessa)10."(Kind willst du)11."(Es war einmahl)12."(in a familiar style)13."(Vieni Amore)14."(God save the King)2515."(Rule Britannia)2616."(Thême orig.)3417."(With a Fugue)18."(Thirty-two Variations)3619."(Thême russe)20."(Waltz by Diabelli)2.—With Accompaniments.21.Variations(Se vuol ballare) for Piano-forte and Violin22."(Air de Händel) for Piano-forte and Violoncello23."(Ein Mädchen)24."(Bey Männern)25."(Thême orig.) for Piano-forte, Violin and Violoncello26."(Air écossais) for Piano-forte and Flute27."(Air écossais)28."(Air autrichien)29."(Air écossais)30."(Air écossais)31."(Air écossais)32."(Air tirolien)33."(Air écossais)34."(Air russe)35."(Air écossais)36."(Air tirolien)37."(Air écossais)38."(Air russe)39."(Air écossais)40."(Air écossais)41."(Air écossais)42."(Schwestern von Prag) for Violin and Violoncello121IV.—PIECESFOR TWO PERFORMERS ON THE PIANO-FORTE.No.Op.1.Sonata in D62.Variations in C3.Variations in D274.Three Marches in C, E flat, and D45V.—DUETSFOR PIANO-FORTE AND VIOLIN.1.Sonata in D122." in A123." in E flat124." in A minor235." in F246." in A307." in C minor308." in G309." in A4710." in G96VI.—DUETSFOR PIANO-FORTE AND VIOLONCELLO.1.Sonatain F52."in G minor53."in F (with Violoncello or French Horn)174."in A695."in C1026."in D102VII.—TRIOSFOR PIANO-FORTE, VIOLIN, AND VIOLONCELLO.1.Trio in E flat12." in G13." in C minor14." in B flat (Clar.)115.Trio in D (Viol.)706." in E flat707." in B flat97VIII.—QUARTETTS AND QUINTETTSFOR THE PIANO-FORTE.1.Quartett in E flat, for Piano-forte, Violin, Alto, and Violoncello162.Quintett in E flat, for Piano-forte, Hob. Clar. Bassoon and Horn16IX.—CONCERTOSFOR THE PIANO-FORTE, WITH ORCHESTRAL ACCOMPANIMENTS.1.Concertoin C152."in B flat193."in C minor374."in C, for Piano-forte, Violin, Violoncello, Concertante, and Orchestra565."in G586."in E flat737.Fantasia, with Chorus80B.—VIOLIN MUSIC.——X.—TRIOSFOR VIOLIN, ALTO, AND VIOLONCELLO.No.Op.1.Trioin E flat32."(Serenade)83."in G94."in D95."in C minor96."(Serenade) for Violin, Flute, and AltoXI.—QUARTETTSFOR TWO VIOLINS, ALTO, AND VIOLONCELLO.1.Quartettin F182."in G183."in D184."in C minor185."in A186."in B flat187."in F598."in E minor599."in C5910."in E flat7411."in F minor9512."in E flat12713."in B flat13014."in C sharp min.13115."in A minor13216."in F13517.Fuguein B flat133XII.—QUINTETTSFOR TWO VIOLINS, TWO ALTOS, AND VIOLONCELLO.1.Quintettin E flat42."in C293.Fuguein D137XIII.—SEXTETTS AND SEPTETTSFOR THE VIOLIN, ETC.1.Septett in E flat for Violin, Alto, Violoncello, Clarionet, Bassoon, Horn, and Double Bass202.Sextett in E flat, for two Violins, Alto, two Horns, and Violoncello81XIV.—CONCERTOS AND ROMANCESFOR THE VIOLIN, WITH ORCHESTRAL ACCOMPANIMENTS.1.Romance in G402." in F503.Concerto in D61C.—VOCAL MUSIC.XV.—SONGS AND BALLADS,WITH ACCOMPANIMENT OF THE PIANO-FORTE.No.1.War Song of the Austrians (1797).Kriegslied der Österreicher.2.Farewell to the Citizens of Vienna.Abschiedsgesang, &c.3.Drinking Song.Trinklied4.La Partenza5.Tender Love.Zärtliche Liebe6.Prayers (Six Sacred Songs of Gellert's), Op. 327.Love of our Neighbour.Die Liebe des Nächsten8.Of Death.Vom Tode9.Reverence of God through Nature.Die Ehre Gottes aus der Natur10.God's Power and Providence.Gottes Macht und Vorsehung11.Penitential Hymn.Busslied12.Adelaide, Op. 4813.The Blessing of Friendship.Das Glück der Freundschaft14.The Free Man.Der freye Mann15.Hymn of Sacrifice.Opferlied16.Urian's Voyage Round the World, Op. 52—Eight Songs17.Fire-colour.Feuerfarb18.The Song of Rest.Das Liedchen von der Ruhe19.May Song.Maygesang20.Molly's Parting.Molly's Abschied21.Love.Liebe22.Marmoth23.The Flower of St. John's Wort.Das Blümchen Wunderhold24.The Call of the Œvail, Op. 24.Der Wachtelschlag25.To Hope, Op. 32.An die Hoffnung26.Longing (1st Melody), Op. 38.Sehnsucht27." (2nd Melody)28." (3rd Melody)29." (4th Melody)30.Canon for the New Year.Zum neuen Jahr31.Mignon (Six Songs and Melodies), Op. 5732.New Love, new Life.Neue Liebe, neues Leben33.Romance (Göthe's Faust)34.Gretel's Warning35.To the absent Lover.An den fernen Geliebten36.The Contented Man.Der Zufriedene37.Song of the Absent.Lied aus der Ferne38.Longing.Sehnsucht39.The Warrior's Adieu.Des Kriegers Abschied40.In questa tomba41.The Lover.Der Liebende42.The Youth in a Foreign Land.Der Jüngling in der Fremde43.Hope, Op. 82.Hoffnung44.The Lover's Lament.Liebes Klage45.L'Amante impatiente.Stille Frage46.L'Amant.Liebes-Ungeduld47.Joys of Life.Lebens-genuss48.Pleasures of Melancholy—Three Songs, Op. 38, by Göthe49.Longing50.With a coloured ribbon51.Remembrance (Mathison), Op. 72.Andenken.52.Elegy on the Death of a Bodle.Elegie auf den Tod eines Pudels.53.To a Mistress who wished to part.Als die Geliebte sich trennen wollte54.Merkenstein, Op. 10055.The Spirit of the Bard.Der Bardengeist56.The Call from the Mountain.Ruf vom Berge57.Germania58.To my beloved.An die Geliebte(von Stoll)59.So or so60.Resignation61.The Secret.Das Geheimniss62.Silence.Das Schweigen.(Canon)63.To Hope.An die Hoffnung, Op. 9464.To a distant Mistress.An die ferne Geliebte(a Series of Six Songs, by A. Jeitteles), Op. 9865.The Man of his Word.Der Mann von Wort, by F. A. Kleinschmid, Op. 99.66.Merkenstein, near Baden, by J. B. Rupprecht, Op. 100.67.Evening Hymn.Abendlied, Op. 10368.O Hope.O Hoffnung69.The Song of the Nightingale.Der Gesang der Nachtigall70.Canon for Six Voices71.Canon for Four Voices72.Canon for Three Voices73.The Kiss.Der Kuss, Op. 12874.Drinking Song.TrinkliedXVI.—VOCAL MUSIC,WITH PART OR THE WHOLE OF AN ORCHESTRAL ACCOMPANIMENT.No.Op.1.Scena e Aria: Ah perfido462.Germania3.It is achieved.Es ist vollbracht4.Scotch Songs, Book 1st—With Accompaniment forPiano Forte, Violin,and Violoncello1085." " Book 2nd6." " Book 3rd7.Calm at Sea and prosperous Voyage1128.March and Chorus from the Ruins of Athens1149.Terzett: Tremate, empi, tremate!11610.Elegiac Song11811.Hymn of Sacrifice,by Mathison, for Solo and Chorus12112.Hymn of Alliance,by Göthe, for two Solo Voices and Chorus122XVII.—MASSES, ORATORIOS, OPERAS.No.Op.1.Mass in C, for Four Voices and Orchestra862." in D, for Four Voices and Orchestra1233.Christ on the Mount of Olives, Oratorio854.The Glorious Moment, Cantata5.Fidelio, Grand Opera6.Egmont, Tragedy (Overture, Entreacts and Songs)84D.—ORCHESTRAL MUSIC.———XVIII.—SYMPHONIES.1.Symphonyin C212."in D363."eroica in E flat554."in B flat605."in C minor676."Pastorale in F687."in A928."in F939."Choral in D minor12510.Wellington's Victory in the Battle of Vittoria91XIX.—OVERTURESFOR THE ORCHESTRA.1.Overture(Prometheus)432."(Coriolanus)623."(Egmont)844."(Leonore)875."(Fidelio)6."(Ruins of Athens)1137."(The Emperor's Name Day)1158."(King Stephen)1179."(Inauguration of the Theatre)12410."(Characteristique)138XX.—DANCES AND BALLETSFOR THE ORCHESTRA.1.Minuets in E flat2." in D3.German Dances in C4.Waltzes in D5." in D6.Prometheus, Ballet

BEETHOVEN'S LAST MOMENTS.

The Property found after his Death.CORRESPONDENCErelative to the gift made to Beethoven by the Philharmonic Society of London.

Mr. Schindler to Mr. Moscheles.

Vienna, March 24, 1827.

My dear good Moscheles,

You must not be surprised at the difference of date between these two letters. I wished to retain Beethoven's for a few days, because, on the day after that letter was written,i. e.the 19th of March, we had every reason to fear that our great master was about to breathe his last. This event, however, has not yet happened, but by the time you read these lines, my good Moscheles, our friend will be no longer among the living. His dissolution approaches with rapid steps, and indeed it is the unanimous wish of us all to see him released from his dreadful sufferings. Nothing else remains to be hoped for. One may indeed say that, for the lasteight days, he has been more like a dead than living man, being able only now and then to muster sufficient strength to ask a question, or to inquire for what he wanted. His condition appears, to all accounts, to be very similar to that which was lately endured by the Duke of York. He is in an almost constant state of insensibility, or rather of stupor; his head hanging down on his chest, and his eyes staringly fixed for hours upon the same spot. He seldom recognises his most intimate acquaintances, and requires to be told who stands before him. This is dreadful to behold, but only for a few days longer can such a state of things last: since yesterday all the natural functions of the body have ceased; he will, therefore, please God, soon be released, and we shall no longer have to behold his sufferings.

Crowds of people flock to his abode, to see him for the last time, though none are admitted, except those who are bold and audacious enough to molest the dying man in his last hours.

We have been so fortunate as to arrange everything respecting his last will, though there is hardly anything left but a few pieces of old furniture and some manuscripts. He had in hand a Quintett for stringed instruments, and the tenth Symphony, of which he makes mention in his letter to you. Ofthe Quintett there are two movements entirely finished, and it was intended for Diabelli.[203]

The day immediately succeeding the receipt of your letter he was in extremely good spirits, and talked much of the plan of the Symphony, which was to have proved so much the more grand, as it was intended for the Philharmonic Society. He has frequently spoken of a journey to England as soon as he should recover, and had calculated how he and myself could live most economically on the tour. But, good God! his journey will probably lead him much further than to England. When he found himself a little relieved, he amused himself with reading the ancient Greek authors; also several of Walter Scott's novels. As soon as your consolatory letter had reached him, all his melancholy thoughts, and all his dread of future misery at once vanished. He cheerfully said, "Now we may again occasionally treat ourselves with a merry day." His funds had been already nearly exhausted, and he had consequently been obliged for some time past to retrench his table, which grieved him more than anything else. He immediately desired to have his favourite dish of fish, even if it were only that he might taste of it. The exaltation of his mind is indeed so great, that he at times borders upon the childish. We were also obliged to procure for him a great arm-chair, which cost fifty florins, on which he rests daily at least for half an hour, whilst his room and bed are arranging. His caprice, or rather obstinacy, are, however, excessive; just as ever: and this falls particularly hard upon me, since he wishes to have absolutely nobody about him but myself. And what remained for me to do in this, but to give up my teaching and my whole business, in order to devote all my time to him? Everything he eats or drinks I must taste first, to ascertain whether it might not be injurious for him. However willingly I do all this, yet this state of things lasts too long for a poor devil like myself. Whatever there remains of the thousand florins, we intend to apply in defraying the expenses of a respectable interment, which shall be performed without parade in the churchyard near Döbling,[204]where he ever delighted to roam.

As early as during your last visit to this city,[205]I stated to you the condition of Beethoven's finances, but did not at that time apprehend that we were to see this excellent man so soon arrive, and thus miserably too, at his last moment.

[Interval of some hours.]

I have just left Beethoven. He is certainly dying; before this letter is beyond the walls of the city, the great light will have become extinct for ever. He is still in full possession of his senses. The enclosed lock I have just cut from his head. I hasten to despatch the letter, in order to run to him. God bless you!

Your most sincere friend,A. Schindler.

Mr. Rau to Mr. Moscheles.

Vienna, March 28th, 1827.

Dear Friend,

Beethoven is no more; he departed this life, in a most painful struggle and with dreadful sufferings, on the 26th instant, between five and six o'clockP.M., after having been insensible for the last twenty-four hours.

And now as to the state of his affairs. My last letter to you spoke of nothing but the extreme want and poverty in which he was, according to his own statements, and yet, when an inventory of his effects was taken, in my presence, we found, in an old, half-mouldybox, no less than seven bank-shares. Whether Beethoven had hidden these intentionally (for he was naturally mistrustful, and hoped for a speedy recovery), or whether their possession had escaped his own memory, is a problem which I do not venture to solve.

The sum of one thousand florins, as sent by the Philharmonic Society, was found untouched. I laid claim to it in conformity with your instructions, but was obliged to deposit it with the magistrates until further notice from the Society as to its final disposal. I would not consent to their defraying the burial expenses out of this money without the Society's authorization to that effect. Should you have it in your power to dispose of any part of the money, pray let it be done in favour of the two old servants who have attended the patient with the utmost care and devotedness, and who—poor faithful creatures!—have been entirely forgotten in the will, Beethoven's nephew being named his sole heir.[206]As to the present which Beethoven intended sending to the Philharmonic Society, you will hearof it in due time from Mr. Schindler. Let me know soon and circumstantially what steps I am to take, and you may rely upon my conscientiousness in fulfilling your wishes. Beethoven will be buried on the 29th, and an invitation to attend the funeral has been sent to all professors of the different chapels and theatres. The body will be borne by twenty composers, and as many more will be torch-bearers; Grillparzer has written a most affecting address to be spoken by Anschütz at the grave; indeed, everything which could be done to render the solemnity worthy of the deceased seems to be in preparation. * * * * * * * * * * * * *

Your friend,RAU.

Extract of a Letter fromMr. Schindler to Mr. Moscheles.

Vienna, September 14th, 1827.

My dear Friend,

I avail myself of the departure for London of Mr. Levisey, the English courier, to write, and also intrust to his care a memorial of our friend Beethoven,since in your last you wished for a manuscript of some well-known composition of the great master: well, here is the end of the Scherzo of the last Symphony, and along with it one of those memorable sketch-books which Beethoven used mostly to fill in the open air, and afterwards to write his scores from them at home; I was so fortunate as to rescue several of them, and to me they are of the deepest interest, since they are scarcely intelligible to the uninitiated. I must tell you that the one I send contains sketches of one of his last Quartetts; and should you ever hear that work, you will no doubt recognise some of the passages, written down at full length. I believe I cannot better prove you my friendship than by sending you this relic, the first and only one I shall ever part with. Mr. L——r informs me he has already sent you Beethoven's portrait; I trust it isthatlithograph in which he is represented sitting and writing, as all others are bad; on the sheet of paper before him standsMissa solemnis. I meant to send you all this together through Mr. Clementi, whose acquaintance I made at Baden, but he left before I was aware of it. * * * * * * *

Most sincerely, your friend,A. Schindler.

Mr. Rau to Mr. Moscheles.

Vienna, February 15, 1828.

Dear Friend,

I send you enclosed a letter from the guardian of Beethoven's nephew, who is named his sole heir, by which you will see that matters are drawing to a close. I was requested, officially, to make a deposition respecting the thousand florins which the Philharmonic Society of London had given to Beethoven, but not having heard from you to that effect, and not wishing to take any responsibility upon myself, I requested a delay sufficient to allow of my writing and receiving your answer. The guardian's letter will at once show you how matters stand.[207]And now between ourselves. If youcouldinduce the directors to give up the thousand florinsit would save much trouble, and perhaps a lawsuit. Even Dr. Eltz and Baron Eskeles think it would be most difficult to identify the thousand florins found in Beethoven's possession at his death with those sent by the Society, the more so as Hofrath Breuning, who had been appointed to take the inventory, has died since. Should the money, however, contrary to all expectations, be required back again, it will be necessary for the Philharmonic Society to send Dr. Eltz a legal writ, empowering him to proceed for them, and at their expense: this might indeed eat up the whole sum. Pray writesoonandmost explicitly. * * * * * *

Your friend,RAU.

Funeral Honours To Beethoven.

THE29th of March, 1827, was fixed upon for the funeral of the lamented Beethoven. The following fac-simile of the card (on the opposite page) relative to the funeral may not be uninteresting to the reader.

Translation of the Card."INVITATIONTOLUDWIG VAN BEETHOVEN'SFUNERAL,Which will take place on the 29th of March, at three o'clock inthe afternoon.———The company will assemble at the lodgings of the deceased, in theSchwarz-spanier House, No. 200, on the Glacis, before theScotch Gate.The procession will thence go to Trinity Church, at theFathers' Minorites in Alser Street.———The musical world sustained the irreparable loss of this celebratedcomposer about six o'clock in the evening of the26th of March, 1827.BEETHOVENdied of dropsy, in the 56th year of his age, afterreceiving the Holy Sacraments.The day of the exequies will be made known hereafter by

L.VANBEETHOVEN'SAdmirers and Friends."

Einladung

This card having been largely distributed, all the necessary arrangements for the funeral were made with the utmost zeal and promptitude by Mr. Haslinger, the music publisher, and Messrs. Schindler and Hart, friends of the deceased. The morning was fine; and at an early hour crowds of people began to assemble on the Glacis of Alservorstadt, the quarter of the town in which Beethoven resided. Towards the middle of the day, the numbers had increased to upwards of twenty thousand persons of all classes; and so great was the pressure round the residence of the deceased, that it was found necessary to close the gates of the court-yard, where, under an awning, stood the coffin raised upon a bier, and surrounded by mourners. At half-past four the procession began to move, the way having been cleared by a body of the military. Eight principal singers of the Opera-house—Eichberger, Schuster, Cramolini, A. Müller, Hoffmann, Rupprecht, Borschitzky, and A. Wranitzky—had offered to carry the coffin on their shoulders. After the priest had pronounced some prayers, the singers performed a highly impressive Funeral Chant by B. A. Weber, and the whole procession moved forward in the following order:—

1. The cross-bearer; 2. Four trombone-players—the brothers Böck, Waidl, and Tuschky; 3. Themaster of the choir, M. Assmayer; and, under his direction, 4. A choir of singers—M. Tietze, Schnitzer, Gross, Sikora, Frühwald, Geissler, Rathmeyer, Kokrement, Fuchs, Nejebse, Ziegler, Perschl, Leidl, Weinkopf, Pfeiffer, and Seipelt, which, alternately with the trombone quartett, performed the Miserere. This walking orchestra was immediately followed by, 5. The high priest; 6. The coffin, borne by the above-mentioned opera-singers, and attended by the chapel-masters—- Eybler, Hummel, Seyfried, and Kreutzer, on the right, and Weigl, Gyrowetz, Gänsbacher, and Würfel, upon the left, as pall-bearers. On both sides, from the beginning of the procession to the coffin, were the torch-bearers, thirty-six in number, consisting of poets, authors, composers, and musicians, among whom were M. Grillparzer, Anschütz, Bernard, Castelli, Mayseder, C. Czerny, J. Böhm, Linke, Hildebrand, Schuppanzigh, Holz, Katter, Krall, Baron Lannoy, J. Merk, F. Schubert, Riotte, Schoberlechner, Steiner, Haslinger, Sig. Lablache, David, Radichi, Mechetti, Meric, Pacini, Meier, Schick, Schmidl, Streicher, Weidman, Wolfmeyer, C. Graf, Raimund, Piringer, Grünbaum, &c.; the whole in full mourning, with white roses and bunches of lilies fastened to the crape on their arms. Next followed Beethoven's brother, and M. vonBreuning, (one of the earliest friends of the deceased, and the executor of his last will,) the pupils of the Conservatorio, and the scholars of Kapellmeister Drechsler, (the thorough-bass teacher of St. Ann's,) all deeply lamenting the loss which the musical world had sustained.

As the procession approached the church, theMiserere[208]was entoned to an original melody of the deceased, with an accompaniment of four trombones. The history of this striking composition is as follows:—When Beethoven was, in the autumn of 1812, visiting his brother, at the time an apothecary in Linz, he was requested by M. Glögll; Kapellmeister of the cathedral, to compose some movement of a solemn kind for the approaching festival of All Souls. Beethoven willingly undertook the task, and wrote a piece, entitledEquale a quatro Tromboni, remarkable for the originality of the harmonies, and its faithful imitation of the genuine antique style.[209]

On the morning of the 26th of March, 1827, when all hope of Beethoven's recovery had been given over, Mr. Haslinger repaired with it to Kapellmeister Seyfried, with a request that he wouldadapt the words of the Miserere to thisEquale, that, the body of the prince of musicians might be accompanied to its everlasting rest by his own creations. M. Seyfried, in pursuance of this idea, undertook the work, which was finished the night following Beethoven's death, with infinite judgment and good taste. The movements were arranged for four voices (two tenors and two basses) and four trombones.

On reaching the church, the body was placed on a bier at the foot of the high altar, when, after the usual prayers, was sung the solemn anthemLibera me Domine, de morte eterná, composed by Kapellmeister von Seyfried, in the genuine ecclesiastical style. On quitting the church, the coffin was placed in a hearse drawn by four horses, which proceeded towards the burial-ground at Währing, followed by a line of more than two hundred carriages. On reaching the gates of the cemetery, the following poem, from the pen of Grillparzer, was recited by Anschütz, the tragedian, in a very feeling manner:—

Baron von Schlechta and M. Castelli read short but eloquent poems to the sorrowing multitude, and, before the grave was closed, M. Haslinger put into the hands of M. Hummel three wreaths of laurel, which were dropped upon the coffin. The mourners waited till the earth was smoothedover the grave. All the visitants in turn took a last farewell of the mortal remains of a great genius, and returned home in silence, the shades of evening having by this time gathered around.

On the 3rd of April, 1827, a solemn tribute was paid to the memory of Beethoven at the imperial church of St. Augustin by the performance of Mozart'sRequiem, in which the great singer Lablache sung the bass part, in a manner that produced a deep impression and shows him to be a profound artist: the whole terminated with the solemnMiserereandLiberaof Kapellmeister von Seyfried. On the 5th of April, 1827, was performed, in the church of St. Charles, the whole of Cherubini's celebratedRequiem, admirably executed under the direction of Kapellmeister Hummel. A musical performance also took place, by way of opening a subscription for a monument to Beethoven. It commenced with the celebrated Pastoral Symphony of the lamented master, which was followed by aKyriefrom his second Mass in D. From the Abbé Vogler's celebratedMissa pro defunctis, were given theDies iræ, theSanctus, andBenedictus. The whole closed with Catel's Overture toSemiramis. The selection was admirably performed, and the object proposed adequately fulfilled.

LATIN EPITAPHSONBEETHOVEN'S TOMB.——————1.LUDOVICO . VAN . BEETHOVEN.Cujus.Ad . Triste . Mortis . Nuncium.Omnes . Flevere . Gentes.Plaudente.Coelitum . Choro.———2.IN TUMULUMLUDOVICI VANBEETHOVEN.FATOmortalis;VITAbonus;ARTEperennis,MORTEsuumMORIENSeximit ipse decus.

musical notation MISERERE, PERFORMED AT BEETHOVEN'S FUNERAL, AT VIENNA, MARCH 29, 1827.

musical notation

AMPLIUS.

musical notation

Concert in aid of Beethoven's Monument at Drury Lane Theatre, July 19th, 1837.

ITwas in the summer of the year 1837 that the citizens of Bonn, who had for the last two years been actively engaged in raising funds for the erection of a monument to Beethoven in his native city, addressed Lord Burghersh, through the Baron von Schlegel, president of their managing committee, in the following letter:—

My Lord,Monsieur le Baron de Bulow has encouraged me to address your Lordship on behalf of the proposed monument to Ludwig van Beethoven, in his native town of Bonn. This project has been most favourably entertained in Germany: we have received the profits of many concerts given for this purpose in the small as well as large towns, besides private subscriptions; nevertheless, our means are still insufficient for the execution of a monument in all respects worthy of this great genius. Besides, his glory would remain imperfect if we did not obtainfor it some conspicuous support from abroad, and especially from London, which has become one of the principal places in Europe in which music is cultivated in the greatest perfection. A public concert, given in that capital, in aid of the monument to Beethoven, would complete our wishes.If a connoisseur and patron of talent like your Lordship would deign to encourage such an undertaking, distinguished artists will zealously assist, and the numerous admirers of Beethoven will not refuse their aid to do honour to his memory.Having had the honour, in former times, of being received by your Lordship, and of being present at your brilliant musical entertainments in Florence and in London, I gladly avail myself of this occasion to recal myself to your kind recollection; and I beg you to accept the expression of my devotion and of the great respect with whichI have the honour to be,My Lord,Your most obedient and humble servant,(Signed) A. W. DESCHLEGEL.Bonn, May 21st, 1837.

My Lord,

Monsieur le Baron de Bulow has encouraged me to address your Lordship on behalf of the proposed monument to Ludwig van Beethoven, in his native town of Bonn. This project has been most favourably entertained in Germany: we have received the profits of many concerts given for this purpose in the small as well as large towns, besides private subscriptions; nevertheless, our means are still insufficient for the execution of a monument in all respects worthy of this great genius. Besides, his glory would remain imperfect if we did not obtainfor it some conspicuous support from abroad, and especially from London, which has become one of the principal places in Europe in which music is cultivated in the greatest perfection. A public concert, given in that capital, in aid of the monument to Beethoven, would complete our wishes.

If a connoisseur and patron of talent like your Lordship would deign to encourage such an undertaking, distinguished artists will zealously assist, and the numerous admirers of Beethoven will not refuse their aid to do honour to his memory.

Having had the honour, in former times, of being received by your Lordship, and of being present at your brilliant musical entertainments in Florence and in London, I gladly avail myself of this occasion to recal myself to your kind recollection; and I beg you to accept the expression of my devotion and of the great respect with which

I have the honour to be,My Lord,Your most obedient and humble servant,(Signed) A. W. DESCHLEGEL.

Bonn, May 21st, 1837.

Lord Burghersh, taking up the matter with the utmost zeal, addressed an appeal to the principal musical institutions of London, which in their turn showed their readiness to promote the object in view.

At a meeting of the professors belonging to the Ancient Concert, the co-operation of the members of that body was unanimously granted, Mr. Knyvett and Mr. Cramer being deputed to act as its representatives. A like course was adopted by the Philharmonic Society, which nominated Sir George Smart and Mr. Moscheles in a similar capacity; Mr. Mori and Sig. Costa were appointed by the orchestra of the Italian Opera to express the adherence of that body; and Messrs. Potter and C. Lucas, at the suggestion of Lord Burghersh, on the part of the disposable forces of the Royal Academy. Several of the principal English and foreign vocalists then in London offered their co-operation with the utmost willingness and liberality. Mr. Bunn granted the use of Drury Lane Theatre, and on the 19th of July, 1837, under the management of a committee presided over by Lord Burghersh, assisted by the Right Hon. the Earl of Cawdor and the Right Hon. Sir Gore Ouseley, Bart., and formed of the members of the musical bodies above specified, a grand concert was given, the following account of which is extracted from the musical journals of the day.

The performance which took place at DruryLane Theatre on Wednesday evening was but thinly attended, owing to a variety of causes, among which may be noticed the dissolution of Parliament and the approaching elections, the lateness of the season, and, we fear, the high terms demanded for admission, namely, half-a-guinea the boxes, seven shillings the pit, and five shillings the gallery. In a musical point of view it realised the highest expectations that could have been formed of it; for assuredly it was the noblest entertainment of this description that ever was given in England. But considered with respect to its object, it has unfortunately been a failure, the attendance having been too small to produce any substantial contribution to the fund. This circumstance must have, in some measure, diminished the enjoyment which the admirers of Beethoven derived from the performance of some of his greatest masterpieces. But it did not damp the ardour of the performers. They evidently exerted themselvescon amore; and we have never heard music performed with greater care, energy, or effect.

Nothing could have surpassed the splendour of the orchestra on this occasion, which was erected upon the stage, and the back of it was as high as the second tier of boxes. The principal singers were arranged in front; the chorus, consisting of112 voices, on each side; the conductor in the centre. The band consisted of fifty violins, twelve violas, twelve violoncellos, eleven double basses, twenty-five wind instruments, &c., making a total of 110 instruments, and a grand total of about 230 performers. The soli performers were Mesdames Schrœder Devrient, Bishop, Knyvett, Birch, Wyndham; Messrs. Braham, Bennett, Balfe, Seguin, and H. Phillips. The conductors, Sir George Smart, Mr. Moscheles, and Mr. Knyvett; the leaders, Messrs. F. Cramer, Loder, and T. Cooke.

The selection combined: Part I. The Mount of Olives. Part II. The Choral Symphony. Part III. Overture Egmont.—Canon from Fidelio.—Concerto in E flat (pianoforte, Mr. Moscheles).—Grand scena in E.—And Finale from Fidelio.

The Mount of Olives, which formed the first act, was given entire for the first time in England. The solo parts were sung by Mrs. Knyvett, Mrs. Bishop, Miss Birch, Mr. Braham, Mr. Phillips, and Mr. Bennett. Braham was in perfect voice, and had his voice perfectly under his command. He sang, indeed, so well, that the principal performers in the orchestra could not refrain from offering him their friendly and hearty congratulations. The band was led by F. Cramer, and conducted by Sir George Smart.

Beethoven's great Choral Symphony formed the second act. It was admirably performed, and received with immense applause. Schrœder sang with a power and truth which only the music and a kindred genius could have supported. Mr. Moscheles' performance of the noble Concerto, and his conducting the Choral Symphony, have been already mentioned in these pages. Both were beyond commendation. The choralists in "Here seize him," and the "Hallelujah," were very effective; the former (which is a similar movement to the pistol scene in the "Fidelio") was unanimously encored.

So far the journals. That the pecuniary result of this concert should have fallen short of what might be anticipated from such a cause and such assistance, must have had its cause in the lateness of the season and the recent death of King William the Fourth. The clear profits of this concert, together with some donations, amounted to only 100l.! No doubt that many of Beethoven's admirers in England, who were prevented from attending this solemnity, would have taken a pride in honouring the memory of the great master under more favourable auspices.

As to the proceedings of the Committee for the Beethoven Monument at Bonn, the following particularsmay not be uninteresting. The President of the Committee, Baron A. W. von Schlegel, having relinquished his office, owing to an accumulation of private business, Dr. Breidenstein[210]was elected in his stead. The Committee have been most successful in their appeal to the musical world throughout Europe, so that the expenses of the proposed Monument are now nearly covered. The sums received are the produce of concerts in more than fifty different towns, the receipts of a concert given by those eminent artists Thalberg and De Beriot, at Bonn, for the same purpose, and the generous donation of 10,000 francs from Liszt, who joined the Committee as an active member. Promises of concerts for the same purpose have been received from Vienna, Paris, Brussels, and other places.

The Committee has already issued an address to artists, inviting them to send designs for the Monument before the 1st of March, 1841. From among the designs or sketches that shall be received, the three best will be selected by competent judges, and for each of them a premium of twenty fredericsd'or will be paid, upon condition that the authors of them, if required, will have models made of them, upon a reduced scale, and send them to the Committee.

In order to insure perfect impartiality in the selection of the designs, the authors are requested to attach a motto to each, and to inclose the same motto in an envelop, together with the name and the address of the artist. The competition is open to artists of all countries. It is necessary to add the following remarks, as they may have an influence upon the work itself:—

1. It is decided that the Monument, or rather the statue, which is to form the most essential part of it, shall be executed, not in marble, but in bronze.

2. The sum which, at the commencement of next year, we shall have at our disposal amounts to about 13,000 dollars, Prussian currency; in addition to which contributions are announced, and confidently expected, from several of the most important German and European capitals.—ED.

Sale of Beethoven's MSS. and Musical Library.[211]

Vienna, March 16, 1828.

The sale of the lamented Beethoven's MSS. and musical library, which lately took place here, excited uncommon interest among the lovers of music, amateurs as well as professional men. The following are the heads under which the articles were arranged in the catalogue:—

1. Fragments from Beethoven's musical portfolio, consisting of noted paper, scraps of various themes, &c. 2. Fragments and sketches in a more complete form. 3. Autographs of scores already published. 4. Autographs of unpublished music. 5. Copies of various Symphonies, Choruses, Overtures, Masses, &c., corrected by the composer's own hand. 6. Printed music and theoretical works. 7. A small collection of works of general literature. 8. A small collection of musical instruments. The contest for several of the articleswas warm and spirited, particularly between the well-known music-sellers Artaria, Haslinger, and Steiner. More than forty works, unknown to the public, were brought to the hammer, the greater part of which are productions of Beethoven's earlier years. No doubt the present possessors will, ere long, afford the world an opportunity of enjoying these works of the lamented master. We observed that the greater proportion of them became the property of Artaria, after a severe contest with his brother publishers; several fetched extraordinarily high prices. Besides a great many other articles, Beethoven's last work, an unfinished Quintett, begun in November, 1826, fell to the lot of Diabelli, who triumphantly bore it away, at a very high price, from a host of competitors. The same gentleman also became possessor of a Solo-Capriccio, of a Rondo for pianoforte and orchestra, and of the English pianoforte which Beethoven had received as a present from the Messrs. Broadwood. The gold medal which the composer had the honour to receive from Louis XVIII. on receiving the copy of one of his grand masses was bought by some anonymous collector. But by far the most interesting article of the whole sale fell to the lot of M. Haslinger—the collection of contrapuntic exercises, essays, and finished pieces, which Beethoven wrote while under the tuition of his master, the celebrated Albrechtsberger, all in his own handwriting, with the interlineal corrections of that master, and his remarks on the margin. It is in five thick volumes, which were evidently preserved with great care. The struggle for the possession of this invaluable relic—the fruit of Beethoven's first studies—was long and spirited; but the stamina of M. Haslinger brought him through: after many a fiercely-contested round, he was at length declared the victor, none of his antagonists coming to time. We are happy to be able to state that this collection of studies,[212]so interesting to the whole musical world, is immediately to be placed in the hands of Kapellmeister Seyfried, who is to prepare it for the press. M. Haslinger also became the fortunate possessor of a pianoforte Trio, consisting of an Allegro, Adagio, Finale, and Variations, composed while Beethoven filled the place of organist in Cologne; of a short Sonata for four hands; of several songs and other vocal pieces; of a small collection, entitledZapfenstreiche für Türkische Musik; of two violins, with the possessor's seal on each; and lastly, of Beethoven's copy of the works of Handel, Dr. Arnold's edition, in forty volumes folio. The latter, as is well known, was presentedto the lamented composer by his friend M. Stumpff, of London, the possession of which tended so much to soothe Beethoven during his last protracted illness. The mind and talents of Handel were kindred to his own, and he was seen for hours hanging over these volumes in rapture and forgetting his sufferings. Two other competitors contended warmly for this prize—M. Gläser of Gotha, and Mr. Schenk, the well-known composer ofDer Dorfbarbier; but M. Haslinger still retained his honours as champion of the field.[213]We must, however, observe, that, warm as the opposition was between these different opponents, the contest was still conducted with becoming respect—not to say with a certain solemnity due to the relics of the mighty dead. Some of the prices given astonished even the most enthusiastic admirers of the composer, and are the most satisfactory proofs of the deep zeal and love for the art predominant among us.

Nº 2.First Sketches of the Vocal Subjects of Beethoven's 9th Symphony.

Nº 2. First Sketches of the Vocal Subjects of Beethoven's 9th Symphony.

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