The Symphony in B-flat
Was “Prince L.” Lobkowitz or Lichnowsky? The details above given point decisively to the former. It is true that the paroxysm of wrath, in which Beethoven had so unceremoniously parted from Lichnowsky in the Autumn, had so far subsidedthat he now granted the Prince the use of his new manuscript overture; but the contemporary notice, from which this fact is derived, is in such terms as of itself to preclude the idea that this performance of it was in one of the two subscription concerts. In these subscription concerts three new works were performed: the Fourth Symphony,[47]in B-flat major, the Fourth Pf. Concerto, in G major, and the “Coriolan” Overture. About the latter something is to be said. The manuscript bears the composer’s own date, 1807. Collin’s tragedy was originally performed November 24, 1802, with “between-acts music” arranged by Abbé Stadler from Mozart’s “Idomeneus.” The next year Lange assumed the leading part with a success of which he justly boasts in his autobiography, and played it so often down to March 5, 1805, as to make the work thoroughly familiar to the theatre-going public. From that date to the end of October, 1809 (how much longer we have no means at hand of knowing), it was played but once—namely, on April 24, 1807. The overture was assuredly not written for that one exceptional performance; for, if so, it would not have been played in March in two different concerts. Nor was it played, April 24th, in the theatre; if it had been, the correspondent of the “Allg. Mus. Zeitung,” writing after its public performance in the Liebhaber Concerts near the end of the year, could not have spoken of it as “anewoverture.” It is, therefore, obvious that this work was composed for these subscription concerts. Beethoven had at this time written butthree overtures—two to “Fidelio” (one of which was laid aside), and that to “Prometheus,” which had long ceased to be a novelty. He needed a new one. Collin’s tragedy was thoroughly well known and offered a subject splendidly suited to his genius. An overture to it was a compliment to his influential friend, the author, and, if successful, would be a new proof of his talent for dramatic composition—certainly, an important consideration just then, pending his application for a permanent engagement at the theatre. How nobly the character ofCoriolanusis mirrored in Beethoven’s music is well enough known; but the admirable adaptation of the overture to the play is duly appreciated by those only, who have read Collin’s almost forgotten work.
The year 1807 was one of the years of Beethoven’s life distinguished by the grandeur and extent of his compositions; and it was probably more to avoid interruption in his labor than on account of ill health, that early in April he removed to Baden. A letter (to Herr von Troxler) in which occur these words: “I am coming to Vienna. I wish very much that you would go with me on Tuesday to Clementi, as I can make myself better understood to foreigners with my notes than by my speech,” seems to introduce a matter of business which called him to the city for a few days.
Clementi Secures a Contract
Clementi, called to Rome by the death of his brother, had arrived in Vienna on his way thither, and embraced the opportunity to acquire the exclusive right of publication in England of various works of Beethoven, whose great reputation, the rapidly growing taste for his music, and the great difficulty of obtaining continental publications in those days of “Napoleonic ideas,” combined to render such a right in that country one of considerable value. Clementi reported the results of the negotiations with Beethoven in a letter to his partner, F. W. Collard, with whom he had been associated in business for five years, which J. S. Shedlock made public in the “Athenæum” of London on August 1, 1902. It runs as follows:
Messrs. Clementi and Co., No. 26 Cheapside, London.Vienna, April 22d, 1807.Dear Collard:By a little management and without committing myself, I have at last made a complete conquest of thehaughty beauty, Beethoven, who first began at public places to grin and coquet with me, which of course I took care not to discourage; then slid into familiar chat, till meeting him by chance one day in the street—“Where do you lodge?” says he; “I have not seen you thislongwhile!”—upon which I gave him my address. Two days after I found on my table his card brought by himself, from the maid’s description of his lovely form. This will do, thought I. Three days after that he calls again, and finds me at home. Conceive then the mutual ecstasy of such a meeting! I took pretty good care to improve it to ourhouse’sadvantage, therefore, as soon as decency would allow, after praising very handsomely some of his compositions: “Are you engaged with any publisher in London?”—“No” says he. “Suppose, then, that you preferme?”—“With all my heart.” “Done. What have you ready?”—“I’ll bring you a list.” In short I agree with him to take in MSS. three quartets, a symphony, an overture and a concerto for the violin, which is beautiful, and which, at my request he will adapt for the pianoforte with and without additional keys; and a concerto for the pianoforte, forallwhich we are to pay him two hundred pounds sterling. The property, however, is only for the British Dominions. To-day sets off a courier for London through Russia, and he will bring over to you two or three of the mentioned articles.Remember that the violin concerto he will adapt himself and send it as soon as he can.The quartets, etc., you may get Cramer or some other very clever fellow to adapt for the Piano-forte. The symphony and the overture are wonderfully fine so that I think I have made a very good bargain. What do you think? I have likewise engaged him to compose two sonatas and a fantasia for the Piano-forte which he is to deliver to our house for sixty pounds sterling (mind I have treated for Pounds, not Guineas). In short he has promised to treat with no one but me for the British Dominions.In proportion as you receive his compositions you are to remit him the money; that is, he considers the whole as consisting of six articles, viz: threequartets, symphony, overture, Piano-forte concerto, violin concerto, and the adaptation of the said concerto, for which he is to receive £200.For three articles you’ll remit £100 and so on in proportion. The agreement says also that as soon as you receive the compositions, you are to pay into the hands of Messrs. E. W. and E. Lee, the stated sum, who are to authorize Messrs. J. G. Schuller and Comp. in Vienna to pay to Mr. van Beethoven, the value of the said sum, according to the course of exchange, and the said Messrs. Schuller and Co. are to reimburse themselves on Messrs. R. W. and E. Lee. On account of the impediments by war, etc., I begged Beethoven to allow us 4 months (after the setting of his MSS.) to publish in. He said he would write to your house in Frenchstating the time, for of course he sends them likewise to Paris, etc., etc., and they must appear on the same day. You are also by agreement to send Beethoven by aconvenientopportunity, two sets of each of the new compositions you print of his.... Mr. van Beethoven says, you may publish the 3 articles he sends bythis courieron the 1st of September, next.[48]
Messrs. Clementi and Co., No. 26 Cheapside, London.
Vienna, April 22d, 1807.
Dear Collard:
By a little management and without committing myself, I have at last made a complete conquest of thehaughty beauty, Beethoven, who first began at public places to grin and coquet with me, which of course I took care not to discourage; then slid into familiar chat, till meeting him by chance one day in the street—“Where do you lodge?” says he; “I have not seen you thislongwhile!”—upon which I gave him my address. Two days after I found on my table his card brought by himself, from the maid’s description of his lovely form. This will do, thought I. Three days after that he calls again, and finds me at home. Conceive then the mutual ecstasy of such a meeting! I took pretty good care to improve it to ourhouse’sadvantage, therefore, as soon as decency would allow, after praising very handsomely some of his compositions: “Are you engaged with any publisher in London?”—“No” says he. “Suppose, then, that you preferme?”—“With all my heart.” “Done. What have you ready?”—“I’ll bring you a list.” In short I agree with him to take in MSS. three quartets, a symphony, an overture and a concerto for the violin, which is beautiful, and which, at my request he will adapt for the pianoforte with and without additional keys; and a concerto for the pianoforte, forallwhich we are to pay him two hundred pounds sterling. The property, however, is only for the British Dominions. To-day sets off a courier for London through Russia, and he will bring over to you two or three of the mentioned articles.
Remember that the violin concerto he will adapt himself and send it as soon as he can.
The quartets, etc., you may get Cramer or some other very clever fellow to adapt for the Piano-forte. The symphony and the overture are wonderfully fine so that I think I have made a very good bargain. What do you think? I have likewise engaged him to compose two sonatas and a fantasia for the Piano-forte which he is to deliver to our house for sixty pounds sterling (mind I have treated for Pounds, not Guineas). In short he has promised to treat with no one but me for the British Dominions.
In proportion as you receive his compositions you are to remit him the money; that is, he considers the whole as consisting of six articles, viz: threequartets, symphony, overture, Piano-forte concerto, violin concerto, and the adaptation of the said concerto, for which he is to receive £200.
For three articles you’ll remit £100 and so on in proportion. The agreement says also that as soon as you receive the compositions, you are to pay into the hands of Messrs. E. W. and E. Lee, the stated sum, who are to authorize Messrs. J. G. Schuller and Comp. in Vienna to pay to Mr. van Beethoven, the value of the said sum, according to the course of exchange, and the said Messrs. Schuller and Co. are to reimburse themselves on Messrs. R. W. and E. Lee. On account of the impediments by war, etc., I begged Beethoven to allow us 4 months (after the setting of his MSS.) to publish in. He said he would write to your house in Frenchstating the time, for of course he sends them likewise to Paris, etc., etc., and they must appear on the same day. You are also by agreement to send Beethoven by aconvenientopportunity, two sets of each of the new compositions you print of his.... Mr. van Beethoven says, you may publish the 3 articles he sends bythis courieron the 1st of September, next.[48]
The closing of the contract with Clementi had been preceded by negotiations with Breitkopf and Härtel for the same compositions. On the same day that Clementi wrote to Collard he also wrote a letter to the Leipsic publishers in which he said that he hadpurchased the right of publication for the British Dominions in consequence of their letter of January 20th, in which they had said that because of the war they had declined Beethoven’s proposition. He also promised to ask Beethoven to treat with them for the German rights. (This fact is already known to the readers from the letters written by Beethoven to Breitkopf and Härtel dated September 3 and November 18, 1806.) Count Gleichenstein witnessed the signing of the contract (which is in French), the substance of which is as follows:
Beethoven grants Clementi the manuscripts of the works afterwards enumerated, with the right to publish them in Great Britain, but reserving the rights for other countries. The works are: three Quartets, one Symphony (“the fourth that he has composed”), the Overture to “Coriolan,” a Concerto for Violin and the arrangement of the same for Pianoforte “with additional notes.”Clementi is to pay for these works the equivalent of £200 in Viennese funds at Schuller and Co.’s as soon as the arrival of the manuscripts is reported from London. If Beethoven cannot deliver all the compositions at once he is to be paid only in proportion. Beethoven engages to sell these works in Germany, France or elsewhere only on condition that they shall not be published until four months after they have been despatched to England. In the case of the Violin Concerto, the Symphony and the Overture, which have just been sent off, not until September 1, 1807. Beethoven also agrees to compose on the same terms, within a time not fixed, and at his own convenience, three Sonatas or two Sonatas and a Fantasia for Pianoforte with or without accompaniment, as he chooses, for which he is to be paid £60. Clementi engages to send Beethoven two copies of each work. The contract is executed in duplicate and signed at Vienna, April 20, 1807, by Clementi and Beethoven.[49]
Beethoven grants Clementi the manuscripts of the works afterwards enumerated, with the right to publish them in Great Britain, but reserving the rights for other countries. The works are: three Quartets, one Symphony (“the fourth that he has composed”), the Overture to “Coriolan,” a Concerto for Violin and the arrangement of the same for Pianoforte “with additional notes.”
Clementi is to pay for these works the equivalent of £200 in Viennese funds at Schuller and Co.’s as soon as the arrival of the manuscripts is reported from London. If Beethoven cannot deliver all the compositions at once he is to be paid only in proportion. Beethoven engages to sell these works in Germany, France or elsewhere only on condition that they shall not be published until four months after they have been despatched to England. In the case of the Violin Concerto, the Symphony and the Overture, which have just been sent off, not until September 1, 1807. Beethoven also agrees to compose on the same terms, within a time not fixed, and at his own convenience, three Sonatas or two Sonatas and a Fantasia for Pianoforte with or without accompaniment, as he chooses, for which he is to be paid £60. Clementi engages to send Beethoven two copies of each work. The contract is executed in duplicate and signed at Vienna, April 20, 1807, by Clementi and Beethoven.[49]
The quartets, in parts, had been lent to Count Franz Brunswick and were still in Hungary, which gave occasion to one of Beethoven’s peculiarly whimsical and humorous epistles:
The Famous Love-Letter Again