Chapter XIV

Help for the Ursulines at Gratz

Dear Sir!No doubt Rode was right in all that he said about me; my health is not of the best and without fault of my own my condition otherwise is perhaps more unfavorable than at any time in my life; but neither this nor anything else shall dissuade me from helping the equally innocent sufferers, the Convent ladies, so far as my modest talents will permit. To this end, two entirely new symphonies are at your services, an air for bass voice with chorus, several smaller single choruses—if you need the overture to Hungary’s Benefactor which you performed last year, it is at your service.The overture to “The Ruins of Athens,” although in a smaller style, is also at your service. Amongst the choruses is a chorus of Dervishes, an attractive thing [literally: “a good signboard”] for a mixed public.In my opinion you would do best to choose a day on which you could give the oratorio “Christus am Ölberg”; since then it has been played all over; this would then fill half of the concert; for the secondhalf you would play a new symphony, the overture and different choruses, as also the bass air with chorus mentioned; thus the evening would not be without variety; but you would better talk this over with the musical councillors in your city and let them decide. What you say concerning remuneration for me from a third person I think I can guess who he is; if I were in my former condition I would flatly say: “Beethoven never takes pay when the benefitting of humanity is concerned,” but now, placed in a condition through my great benevolence (the cause of which can bring me no shame) and other circumstances which are to blame, which are caused by men without honesty or honor, I say frankly I would not decline such an offer from a rich third party; but there is no thought of a demand; even if there should prove to be nothing in the talk about a third person, be convinced that I am just as willing now to be of service to my friends, the reverend women, as I was last year without the least reward, and as I shall always be to suffering humanity as long as I breathe. And now farewell. Write to me soon and I will care for all that is necessary with the greatest zeal.My best wishes for the convent.

Dear Sir!

No doubt Rode was right in all that he said about me; my health is not of the best and without fault of my own my condition otherwise is perhaps more unfavorable than at any time in my life; but neither this nor anything else shall dissuade me from helping the equally innocent sufferers, the Convent ladies, so far as my modest talents will permit. To this end, two entirely new symphonies are at your services, an air for bass voice with chorus, several smaller single choruses—if you need the overture to Hungary’s Benefactor which you performed last year, it is at your service.

The overture to “The Ruins of Athens,” although in a smaller style, is also at your service. Amongst the choruses is a chorus of Dervishes, an attractive thing [literally: “a good signboard”] for a mixed public.

In my opinion you would do best to choose a day on which you could give the oratorio “Christus am Ölberg”; since then it has been played all over; this would then fill half of the concert; for the secondhalf you would play a new symphony, the overture and different choruses, as also the bass air with chorus mentioned; thus the evening would not be without variety; but you would better talk this over with the musical councillors in your city and let them decide. What you say concerning remuneration for me from a third person I think I can guess who he is; if I were in my former condition I would flatly say: “Beethoven never takes pay when the benefitting of humanity is concerned,” but now, placed in a condition through my great benevolence (the cause of which can bring me no shame) and other circumstances which are to blame, which are caused by men without honesty or honor, I say frankly I would not decline such an offer from a rich third party; but there is no thought of a demand; even if there should prove to be nothing in the talk about a third person, be convinced that I am just as willing now to be of service to my friends, the reverend women, as I was last year without the least reward, and as I shall always be to suffering humanity as long as I breathe. And now farewell. Write to me soon and I will care for all that is necessary with the greatest zeal.

My best wishes for the convent.

Closely connected with this in subject, and no doubt in time, is the following letter to Zmeskall:

See to the delivery of this letter to Brunswick at once to-day, so that it may arrive as soon as possible and correctly. Pardon me the burdens which I place upon you. I have just been asked again to send works to Gratz in the Steirmark for a concert to be given for the benefit of the Ursulines and their educational convent. Last year such a concert yielded generous receipts. With this academy and that which I gave in Karlsbad for the benefit of the sufferers from the fire in Baden three academies have been given in one year for, by and through me—to me everywhere a deaf ear is turned [literally: “for me everybody wears his ears on his feet”].

Thereupon he wrote again to Varena:

Vienna, April 8, 1813.My dear V!I received with much pleasure your letter but again with much displeasure the 100 florins sent by the poor cloister ladies; meanwhile they are deposited with me to be applied to the payment of the expenses for copying. Whatever remains will be returned to the noble cloister women together with a view of the accounts.For such occasions I never accept anything—I thought that the third person to whom you referred was perhaps the ex-King of Holland and—yes, from him who probably took from the Hollanders in a less righteous way I would have had no hesitation in accepting something in my present condition; now, however, I beg kindly that nothing more be said on the subject. Write me your opinion as to whether if I came to Gratz I could give a concert; for it is not likely that Vienna will long remain my place of residence; perhaps it is already too late, but your opinion on the subject will always be welcome.The works will be copied and as soon as possible you shall have them—do whatever you please with the oratorio; wherever it can do any good my purposes will best be subserved.All things beautiful to our Ursulines, whom I am glad to be able to serve again.

Vienna, April 8, 1813.

My dear V!

I received with much pleasure your letter but again with much displeasure the 100 florins sent by the poor cloister ladies; meanwhile they are deposited with me to be applied to the payment of the expenses for copying. Whatever remains will be returned to the noble cloister women together with a view of the accounts.

For such occasions I never accept anything—I thought that the third person to whom you referred was perhaps the ex-King of Holland and—yes, from him who probably took from the Hollanders in a less righteous way I would have had no hesitation in accepting something in my present condition; now, however, I beg kindly that nothing more be said on the subject. Write me your opinion as to whether if I came to Gratz I could give a concert; for it is not likely that Vienna will long remain my place of residence; perhaps it is already too late, but your opinion on the subject will always be welcome.

The works will be copied and as soon as possible you shall have them—do whatever you please with the oratorio; wherever it can do any good my purposes will best be subserved.

All things beautiful to our Ursulines, whom I am glad to be able to serve again.

Numbers 8 and 9 of Köchel’s “Drei-und-achtzig Original-Briefe” by Beethoven to Archduke Rudolph and his chamberlain, pray the Archduke to intercede for him with the Rector of the University for permission to give two concerts in the hall of the University. The result is shown in a note to Zmeskall dated April 19:

The hall of the University, my dear Z., is—refused, I received this information day before yesterday, but being ill yesterday I could not come to you to talk it over, nor to-day. There will remain nothing probably except the Kärnthnerthortheater or that An-der-Wien, and I fancy only one A (cademy). If that will not go we must resort to the Augarten, there of course we must give 2 A. Think the matter over a bit, my dear, and give me your opinion. It may be that the symphonies will be rehearsed to-morrow at the Archduke’s, if I can go out, of which I shall let you know.

The rehearsal took place on Resurrection Day, April 18, as we learn from the 48th letter in the Köchel Collection, which, together with the preceding two (Nos. 46 and 47), belong in the year 1813, not in 1819, as Köchel surmised. The following little note to Zmeskall refers to the rehearsal:

Meanwhile I thank you, dear Z., and inform you that the rehearsal will take place at the Archduke’s to-morrow afternoon at 3 o’clock—but I shall give you the particulars to-morrow morning—for the present I have announced it.YourBeethoven.

YourBeethoven.

To Zmeskall he wrote on April 23:

Dear Z.: All will go well, the Archduke will take this Prince Fitzly Putzly soundly by the ears—let me know if you intend to eat at the inn to-day or when you do? Then tell me please whether “Sentivant” is correctly spelled, as I want to write to him at the same time for the chorus. I must yet consult with you about the day to be chosen, moreover you must not let anything be observed about the enlistment of the Archduke, for Prince Fitzly Putzly will not come to the Archduke till Sunday, if this wicked debtor were to observe anything in advance he would try to get out of it.(On April 26): Lobkowitz will give me the theatre for a day after May 15, it seems to me this is about as good as none at all—and I am almost of a mind to give up all thoughts of a concert. He above will surely not let me go utterly to ruin.(On May 10): I beg of you, dear Z., not to let anything be heard about what I said to you concerning Prince L., as the matter is really going forward and without this step nothing would ever have been certain. I have looked for you at the S. every day, but in vain.

(On April 26): Lobkowitz will give me the theatre for a day after May 15, it seems to me this is about as good as none at all—and I am almost of a mind to give up all thoughts of a concert. He above will surely not let me go utterly to ruin.

(On May 10): I beg of you, dear Z., not to let anything be heard about what I said to you concerning Prince L., as the matter is really going forward and without this step nothing would ever have been certain. I have looked for you at the S. every day, but in vain.

Pictures with Musical Accompaniment

There follows another long letter to Varena:

My dear V!There can be no harm in notifying you in advance of what I am sending you; you may be able to use more or less of it. You will receive 3 choruses which are not long and which you can use at different intervals in the concert—a large scene for bass voice with chorus; it is from the “Ruins of Athens” and occurs where the picture of our Emperor appears in view (in Ofen, Hungary, this came upon the stage from below). You may be able to use something of the kind to—stimulate the multitude.In case of need the bass voice might be changed to a contralto. You will receive only the score of these pieces; had I known which you would use I could have had them copied for you here; I shall receive the scores and H. von Rettig will kindly look after them for you; besides, you will receive a march already copied for the instruments. Instead of a symphony you will receive two symphonies; first, the one which you desired to have written out and duplicate; 2nd, another one, also copied, which it appears to me you have not yet had performed in Gratz. As everything else is copied you can have the vocal pieces copied easily and in time.Hr. von Rettich will no doubt find some extraordinary occasion to have everything delivered to you quickly, as everybody is willing to help in such benevolent causes. Why can I not do more for the good ladies!I should have liked to send you two entirely new symphonies of mine, but my present condition commands me unfortunately to think of myself, and I do not know but that I may be obliged to leave this place as a fugitive from the country, for this thank the excellent princes who have made it impossible for me to work for the good and the useful as is my wont. Many thanks for your wine and thank also the worthy ladies for the sweetmeats which they sent me.

My dear V!

There can be no harm in notifying you in advance of what I am sending you; you may be able to use more or less of it. You will receive 3 choruses which are not long and which you can use at different intervals in the concert—a large scene for bass voice with chorus; it is from the “Ruins of Athens” and occurs where the picture of our Emperor appears in view (in Ofen, Hungary, this came upon the stage from below). You may be able to use something of the kind to—stimulate the multitude.

In case of need the bass voice might be changed to a contralto. You will receive only the score of these pieces; had I known which you would use I could have had them copied for you here; I shall receive the scores and H. von Rettig will kindly look after them for you; besides, you will receive a march already copied for the instruments. Instead of a symphony you will receive two symphonies; first, the one which you desired to have written out and duplicate; 2nd, another one, also copied, which it appears to me you have not yet had performed in Gratz. As everything else is copied you can have the vocal pieces copied easily and in time.

Hr. von Rettich will no doubt find some extraordinary occasion to have everything delivered to you quickly, as everybody is willing to help in such benevolent causes. Why can I not do more for the good ladies!

I should have liked to send you two entirely new symphonies of mine, but my present condition commands me unfortunately to think of myself, and I do not know but that I may be obliged to leave this place as a fugitive from the country, for this thank the excellent princes who have made it impossible for me to work for the good and the useful as is my wont. Many thanks for your wine and thank also the worthy ladies for the sweetmeats which they sent me.

(To the same, without date):P.P. I inform you in haste that in case the first two of the four horn parts are difficult for your players, you replace them with 2 violas, but solo players; the other 2 in C are easy and can be played by 2 hornists.For the sake of my health I am hurrying to Baden for a measure of improvement. The cost of copying the scores was 8 fl. 24 kr., for which I shall get a receipt. I have charged 3 fl. for my servant to get the things together, making a total of 11 fl. 24 kr.; after deducting this sum I shall return the rest of the 100 fl. in a few days—it is impossible at this moment.In case you write to me please enclose your letter to the following address in V., namely: To Hrn. Oliva, to be delivered to the Brothers Offenheimer in the Bauernmarkt.

(To the same, without date):

P.P. I inform you in haste that in case the first two of the four horn parts are difficult for your players, you replace them with 2 violas, but solo players; the other 2 in C are easy and can be played by 2 hornists.

For the sake of my health I am hurrying to Baden for a measure of improvement. The cost of copying the scores was 8 fl. 24 kr., for which I shall get a receipt. I have charged 3 fl. for my servant to get the things together, making a total of 11 fl. 24 kr.; after deducting this sum I shall return the rest of the 100 fl. in a few days—it is impossible at this moment.

In case you write to me please enclose your letter to the following address in V., namely: To Hrn. Oliva, to be delivered to the Brothers Offenheimer in the Bauernmarkt.

In a letter to the Archduke, who was then in Baden (also written on May 27), Beethoven reports his arrival there. From Baden the correspondence with Varena was continued, as appears from a letter of July 4, 1813, in which Beethoven says:

Pardon this very belated answer, the reason is still the old one, my troubles, contending for my rights, and all this goes very slowly, since Iam dealing with a princely rascal, Prince Lobkowitz; another noble prince, one of an opposite character, died, but he as little as I was thinking of his death and in my affairs he left nothing in writing; this must now be fought out in the law courts at Prague. What an occupation for an artist to whom nothing is so dear as his art! and I was brought into all this by H. I. H. Archduke Rudolph....Receive my thanks for the 150 fl. from the Forest Preservation Society,[113]commend me to the esteemed Society, but I am humiliated by the fact; why do you (or they) place so high an estimate on the little favor which I have shown the reverend ladies? I hope that my troubles will soon come to an end and that I may come into possession of my own; as soon as this happens I shall come in the fall to Gratz and then the 150 fl. shall be dealt with, and I shall then give a large concert for the benefit of the good Ursulines, or some other institution which may be recommended to me as the most needy and most useful....

Receive my thanks for the 150 fl. from the Forest Preservation Society,[113]commend me to the esteemed Society, but I am humiliated by the fact; why do you (or they) place so high an estimate on the little favor which I have shown the reverend ladies? I hope that my troubles will soon come to an end and that I may come into possession of my own; as soon as this happens I shall come in the fall to Gratz and then the 150 fl. shall be dealt with, and I shall then give a large concert for the benefit of the good Ursulines, or some other institution which may be recommended to me as the most needy and most useful....

We learn from the “Aufmerksame” of Gratz, that “Christus am Ölberg,” sent there by Beethoven in the preceding year, was sung as the second part of a concert for the poor on Palm Sunday, April 11, with applause which did honor to the good taste of the musical public of the Styrian capital.

In Vienna the C minor symphony opened and the new march from “Tarpeia” closed Schuppanzigh’s concert on the 1st of May in the Augarten; but no such enthusiasm was awakened as to induce Beethoven to risk the trouble and expense of producing his new symphonies, and the projected “Academies” were abandoned.

Recalled to Vienna early in July, Beethoven wrote thence to Archduke Rudolph:

From day to day I thought that I should be able to return to Baden, meanwhile the dissonances which are keeping me here may possibly detain me till next week. It is a torture for me to stay in the city in the summertime and when I reflect that I am also hindered from attending upon Y. I. H. it tortures and repels me the more. Meanwhile it is the Lobkowitz and Kinsky matter which keeps me here; instead of thinking about a number of measures I must ponder a number of walks (Gänge—passages) which I must make; without this I should scarcely live to see the end of the matter. Your I. H. has doubtless heard of Lobkowitz’s misfortunes. It is pitiable, but to be so rich is not fortunate! It is said that Count Fries alone paid 1900 ducats in gold to Duport[114]and took a mortgage on the old Lobkowitz house. The details are incredible. I hear that Rasoumowsky will come to Baden and bring his Quartet, which would be a very handsome thing, as Y. I. H. would certainly be nicely entertained. I know of no more delightful enjoyment in the country than quartet music. Graciously accept, Y. I. H., my sincerest wishes for your good health and pity me for being obliged to remain hereunder such repulsive circumstances. Meanwhile I shall try to make up twofold all that you also lose in Baden.

Beethoven soon returned to Baden, where for the present he may be left in the enjoyment of nature, taking such pleasure as his deafness still granted in Rasoumowsky’s quartets, and submitting with what patience he could to his servitude with the Archduke.

Mälzel’s Musical Machines

Mälzel, during the past winter, had opened his “Künstler-cabinet” as a public exhibition. There were marbles, bronzes and paintings and a variety of contributions, scientific or curious, from various artists—among them a large electrical machine with apparatus for popular experiments, but the principal attractions were his own Mechanical Trumpeter and the new Panharmonicon. The Trumpeter executed a French cavalry march with signals and melodies which Mälzel himself accompanied on the pianoforte. The Panharmonicon combined the common instruments then employed in military bands, with a powerful bellows—the whole being inclosed in a case. The motive power was automatic and the keys were touched by pins fixed in a revolving cylinder, as in the common hand-organ or music-box. Compositions of considerable extent had each its own cylinder. The first pieces made ready were Cherubini’s “Lodoiska” Overture, Haydn’s “Military” Symphony, the overture and a chorus from Handel’s “Timotheus”; and by the end of January, Mälzel was at work upon an echo piece composed for him some years before by Cherubini. In the course of the summer he added a “few marches” composed by the popular young pianist, Moscheles, who during their preparation much frequented the workshop.

Beethoven’s “long journey” and “great act” both refer to a proposed journey to England with Mälzel, seriously contemplated during the first months of this year. Brunswick’s visit to Vienna occurred just when the project seemed ripe for execution; as it was on his authority that Schindler reports the “farewell meal” and the singing of the canon, this may be accepted as credible.

The condition of Karl van Beethoven’s health forced his brother to defer the journey; and Mälzel, too, found reason to wait until the end of the year—the idea of his really very beautiful and striking exhibition, the “Conflagration of Moscow,” had occurred to him and he willingly remained in Vienna to work it out. The change for the better in Karl van Beethoven’s health and pecuniary condition, and the completion of the “Conflagration,” left both Beethoven and Mälzel late in autumn free fortheir departure. The mechanician was not only a man of unquestionable inventive genius, but he also understood the public; knew as by instinct how to excite and gratify curiosity without disappointing expectation, and had the tact and skill so to arrange his exhibitions as to dismiss his visitors grateful for an amusement for which they had paid. He was personally both respected and popular. He knew by experience the principal cities of the Continent, and London well enough to foresee, that the noble compositions of Handel, Haydn and Cherubini secured the success of his Panharmonicon there; but that if he could add to its repertory some new, striking and popular piece, bearing the now great name of Beethoven, he would increase both its attractiveness and the public interest and curiosity in the composer. Battles and sieges had for many years been favorite subjects for descriptive music, and the grand engagements of the last fifty years were few indeed which had not been fought over again by orchestras, bands and all sorts of instruments. Poor Koczwara—who hanged himself in jest at London in 1792—was the author of a “Grande Battaille” (in D) for orchestra, and the “Battaille de Prague” for pianoforte trio “avec tambour,” or pianoforte solo, commemorative of a victory of Frederick II of Prussia. This, for forty years, was a showpiece throughout Europe and even in America. Devenne composed the “Battle of Gemappe”; Neubauer, of Martinestie; Jadin, of Austerlitz; Fuchs, of Jena; and so on, for orchestra. The grand battle piece for two flutes, which is generally supposed to have existed but in a joke, the point of which is its absurdity, was really published—it was an arrangement of Fuchs’ “Jena.” For the pianoforte solo, or with the accompaniment of two or more instruments, the press teemed with battles. Among them were those of Fleurus, Würzburg, Marengo, Jena (by others than Fuchs), Wagram, the bombardment of Vienna. Steibelt produced two land engagements and a “Combat naval”; Kauer, “Nelson’s Battle”; and so on indefinitely.

“Wellington’s Victory, or The Battle of Vittoria”

When, therefore, the news of Wellington’s magnificent victory at Vittoria, June 21, 1813, reached Vienna, Mälzel saw instantly that it presented the subject of a composition for his Panharmonicon than which none could be conceived better fitted to strike the popular taste in England. A work which should do homage to the hero, flatter national feeling by the introduction of “Rule Britannia” and “God save the King,” gratify the national hatred of the French, celebrate British victory and Gallic defeat, bear the great name of Beethoven and be illuminated by his genius—what more could be desired? He wrought out the planand explained it to the composer, who, for once, consented to work out the ideas of another. In a sketchbook for this composition, having signals for the battle on its first page, we read: “Wellington’s Victory Vittoria, only God save the King, but a great victory overture for Wellington”; and in the so-called “Tagebuch”: “I must show the English a little what a blessing there is in God save the King”; perhaps, also, another remark just after this was occasioned by his experience on this work: “It is certain that one writes most beautifully when one writes for the public, also that one writes rapidly.” There is nothing in this at all contradictory to Moscheles’s positive and unimpeachable testimony on the origin of the work. In a note to his English edition of Schindler’s book he writes:

I witnessed the origin and progress of this work, and remember that not only did Mälzel decidedly induce Beethoven to write it, but even laid before him the whole design of it; himself wrote all the drum-marches and the trumpet-flourishes of the French and English armies; gave the composer some hints, how he should herald the English army by the tune of “Rule Britannia”; how he should introduce “Malbrook” in a dismal strain; how he should depict the horrors of the battle and arrange “God save the King” with effects representing the hurrahs of a multitude. Even the unhappy idea of converting the melody of “God save the King” into a subject of a fugue in quick movement, emanates from Mälzel. All this I saw in sketches and score, brought by Beethoven to Mälzel’s workshop, then the only suitable place of reception he was provided with.

The same, in general and in most of its particulars, was related to the author by Carl Stein, who was daily in Mälzel’s rooms—they being, as before noted, in his father’s pianoforte manufactory—and who was firmly of the opinion, that Mälzel was afterwards very unfairly, not to say unjustly, treated by Beethoven in the matter of this composition. The composer himself says: “I had already before then conceived the idea of a battle which was not practicable on his Panharmonica,” thus by implication fully admitting thatthisidea was not his own; moreover, the copy of a part of the Panharmonicon score, in the Artaria Collection, has on the cover, in his own hand: “On Wellington’s Victory at Vittoria, 1813, written for Hr. Mälzel by Ludwig van Beethoven.” This is all more or less confirmatory of Moscheles, if indeed any confirmation be needed. It is almost too obvious for mention, that Mälzel’s share in the work was even more than indicated above, because whoever wrote for the Panharmonicon must be frequently instructed by him as to its capacities and limitations, whether a Beethoven or the young Moscheles. We may reasonably assume, that the general plan of “Wellington’s Victory” wasfixed during the composer’s occasional visits to the city in August and September, and such alterations in the score determined upon as the nature of the instrument demanded; so that early in October the whole was ready for Mälzel to transfer to its cylinder.

On Beethoven’s return to his city lodging, between the 15th and 20th of September, his notes to Zmeskall become as usual numerous, the principal topic just now being the engagement of a new servant. While with the assistance and under the direction of the excellent Streichers, Beethoven got his lodgings and wardrobe into decent order, with the aid of Zmeskall he obtained that servant spoken of by Schindler,

who was a tailor and carried on his trade in the anteroom of the composer. With the help of his wife he attended the master with touching care till into the year 1816—and this regulated mode of life did our friend much good. Would that it might have endured a few years longer.At this stage of the case there came also evidences of love and admiration from Princess Lichnowsky, which are well worth more detailed notice. The Prince was in the habit of frequently visiting his favorite in his workshop. In accordance with a mutual understanding no notice was to be taken of his presence, so that the master might not be disturbed. After the morning greeting the Prince was in the habit of looking through any piece of music that chanced to be at hand, watching the master at his work for a while and then leaving the room with a friendly “adieu.” Nevertheless, these visits disturbed Beethoven, who occasionally locked the door. Unvexed, the Prince would walk down the three flights of stairs. As the sartorial servant sat in the anteroom, His Serene Highness would join him and wait until the door opened and he could speak a friendly greeting to the Prince of Music. The need was thus satisfied. But it was not given long to the honored Mæcenas of Art to rejoice in his favorite and his creations.

At this stage of the case there came also evidences of love and admiration from Princess Lichnowsky, which are well worth more detailed notice. The Prince was in the habit of frequently visiting his favorite in his workshop. In accordance with a mutual understanding no notice was to be taken of his presence, so that the master might not be disturbed. After the morning greeting the Prince was in the habit of looking through any piece of music that chanced to be at hand, watching the master at his work for a while and then leaving the room with a friendly “adieu.” Nevertheless, these visits disturbed Beethoven, who occasionally locked the door. Unvexed, the Prince would walk down the three flights of stairs. As the sartorial servant sat in the anteroom, His Serene Highness would join him and wait until the door opened and he could speak a friendly greeting to the Prince of Music. The need was thus satisfied. But it was not given long to the honored Mæcenas of Art to rejoice in his favorite and his creations.

This is touching and trustworthy.

To return to “Wellington’s Victory.” Schindler, supposing the Panharmonicon to have played it, remarked in the first edition of his book: “The effect of the piece was so unexpected that Mälzel requested our Beethoven to instrumentate it for orchestra.” He is mistaken as to the reason; for Mälzel had only, in Beethoven’s words, “begun to engrave.” In truth, he was musician enough to see from the score, how very effective it would be if instrumentated for grand orchestra, and sagacious enough to perceive, that the composition in that form might prove of far greater advantage to them in London and probably be more attractive afterwards when performed by the Panharmonicon. But there was another consideration far more important.

Before the age of steam a journey from Vienna to London with the many huge cases required for even a part of Mälzel’scollection, was a very expensive undertaking. The problem now was, how to provide the necessary funds. Beethoven’s were exhausted and his own were very limited. To go alone and give exhibitions at the principal cities on the way, involved little or no risk for Mälzel, as the experience of the next year proved; but to make the journey direct, with Beethoven for his companion, was impossible until in some manner a considerable sum of ready money could be provided.

A Benefit for Wounded Soldiers

The only resource of the composer, except borrowing, was, of course, the production of the two new Symphonies, one of which had been copied for trial with small orchestra at the Archduke’s, thus diminishing somewhat the expenses of a concert. It was five years since he had had a benefit, and therefore one full house might be counted on with reasonable certainty; but no concert of his had ever been repeated, and a single full house would leave but a small margin of profit. Moreover, his fruitless efforts in the Spring to arrange an “Akademie” were discouraging. Unless the new Symphonies could be produced without cost to himself, and the interest and curiosity of the public so aroused as to insure the success of two or three subsequent concerts, no adequate fund for the journey could be gained; but if so great a sensation could in some manner be made as to secure this object, the fame of it would precede and nobly herald them in London.

Beethoven was helpless; but Mälzel’s sagacity was equal to the occasion. He knew that for the highly cultivated classes of music-lovers, able and ready to appreciate the best, nothing better could be desired than new Symphonies by Beethoven; but such auditors are always limited in number; the programme must also contain something surprising, sensational,ad captandum vulgus, to catch the ear of the multitude, and open their pockets. His Trumpeter was not enough; it had lost its novelty; although with an orchestra instead of pianoforte accompaniment, it would be something. Beethoven alone could, if he would, produce what was indispensable. Time pressed, Mälzel had long since closed his exhibition, and every day of delay was a serious expense. The “Conflagration of Moscow,” the model of his Chronometer and the cylinders for his Panharmonicon were all finished, except the “Victory,” and this would soon be ready. Before the end of the year, therefore, he could be in Munich, as his interest imperatively demanded, provided Beethoven should not be his companion. There was nothing to detain him in Vienna after the “Victory” was completed, but his relations to the composer. Him he knew too well to hope from him any work deliberately writtenwith a view to please the multitude, had the time allowed, which it did not.

Preparations were making in October for two grand performances on the 11th and 14th of November, in the R. I. Winter Riding Academy, of Handel’s “Timotheus” for the benefit of the widows and orphans of Austrians and Bavarians who had fallen in the late campaign against Napoleon. On this hint Mälzel formed his plan. This was, if Beethoven would consent to instrumentate the “Victory” for orchestra—in doing which, being freed from the limitations of the Panharmonicon, he could give free play to his fancy—he (Mälzel) would return to him the score, risk the sacrifice of it for its original purpose, remain in Vienna, and make it the popular attraction of a grand charity concert for the benefit of the Austrians and Bavarians wounded in the battle at Hanau, trusting that it would open the way for two or more concerts to be given for their own benefit. Under all the circumstances, it is difficult to decide, whether to admire the more Mälzel’s good judgment, or his courageous trust in it and in Beethoven’s genius. He disclosed his plan and purposes to the composer, they were approved by him, and the score was returned.

While Beethoven wrought zealously on his task, Mälzel busied himself with the preparations for the concert. His personal popularity, the charitable object in view, curiosity to study Beethoven’s new productions, especially the battle-piece, secured the services of nearly all the leading musicians, some of whom were there only in passing or temporarily—Dragonetti, Meyerbeer, the bassoon-player Romberg, and others. Tomaschek, who heard the “Victory” next year, writes that he was “very painfully affected to see a Beethoven, whom Providence had probably assigned to the highest throne in the realm of music, among the rudest materialists. I was told, it is true, that he himself had declared the work to be folly, and that he liked it only because with it he had thoroughly thrashed the Viennese.” There is no doubt that this was so; nor that they, who engaged in its performance, viewed it as a stupendous musical joke, and engaged in itcon amoreas in a gigantic professional frolic.

The University Hall was granted on this occasion and the 8th of December was fixed for the concert. Young Glöggl was in Vienna, visited Beethoven, and was by him granted the privilege of attending the rehearsals. “I remember,” he writes,

that in one rehearsal the violin-players refused to play a passage in the symphony and rebuked him for writing difficulties which were incapable of performance. But Beethoven begged the gentlemen to take the partshome with them—if they were to practise it at home it would surely go. The next day at the rehearsal the passage went excellently, and the gentlemen themselves seemed to rejoice that they had given Beethoven the pleasure.

Spohr Describes Beethoven’s Conducting

Spohr, playing among the violins,

for the first time saw Beethoven conduct and was surprised in the highest degree, although he had been told beforehand of what he now saw with his own eyes. Beethoven had accustomed himself [he says] to indicate expression to the orchestra by all manner of singular bodily movements. Atpianohe crouched down lower and lower as he desired the degree of softness. If acrescendothen entered he gradually rose again and at the entrance of thefortejumped into the air. Sometimes, too, he unconsciously shouted to strengthen theforte. It was obvious that the poor man could no longer hear thepianoof his music. This was strikingly illustrated in the second portion of the first Allegro of the symphony. In one place there are two holds, one immediately after the other, of which the second ispianissimo. This, Beethoven had probably overlooked, for he began again to beat time before the orchestra had begun to play the second hold. Without knowing it, therefore, he had hurried ten or twelve measures ahead of the orchestra, when it began again and, indeed,pianissimo. Beethoven to indicate this had in his wonted manner crouched clean under the desk. At the succeedingcrescendohe again became visible, straightened himself out more and more and jumped into the air at the point where according to his calculation theforteought to begin. When this did not follow his movement he looked about in a startled way, stared at the orchestra to see it still playingpianissimoand found his bearings only when the long-expectedfortecame and was audible to him. Fortunately this comical incident did not take place at the performance.

Mälzel’s first placards announcing the concert spoke of the battle-piece as his property; but Beethoven objecting to this, others were substituted in which it was said to have been composed “out of friendship, for his visit to London.” No hint was conveyed of Mälzel’s share in the composition. The programme was:

I. “An entirely new Symphony,” by Beethoven (the Seventh, in A major).II. Two Marches played by Mälzel’s Mechanical Trumpeter, with full orchestral accompaniment—the one by Dussek, the other by Pleyel.III. “Wellington’s Victory.”

I. “An entirely new Symphony,” by Beethoven (the Seventh, in A major).

II. Two Marches played by Mälzel’s Mechanical Trumpeter, with full orchestral accompaniment—the one by Dussek, the other by Pleyel.

III. “Wellington’s Victory.”

The success of the performances was so unequivocal and splendid as to cause their repetition on Sunday, the 12th, at noon, at the same prices, 10 fl. and 5 fl. “The net receipts of the two performances, after deducting the unavoidable costs, were 4006 florins, which were reverently turned over to the ‘hohen Kriegs-Präsidio’ for the purposes announced” (“Wiener Zeitung,”December 20). The “Wiener Zeitung,” “Allg. Mus. Zeit.” of Leipsic, and the “Beobachter,” contained excessively laudatory notices of the music and vivid descriptions of its effect upon the auditors, whose “applause rose to the point of ecstasy.” The statements of the contemporary public prints are confirmed by the veteran Spohr, who reports that the Allegretto of the Seventh Symphony “was demandedda capoat both concerts.”

Schindler calls this rightly “one of the most important moments in the life of the master, at which all the hitherto divergent voices, save those of the professional musicians, united in proclaiming him worthy of the laurel.” “A work like the battle-symphony had to come,” adds Schindler with good judgment, “in order that divergent opinions might be united and the mouths of all opponents, of whatever kind, be silenced.” Schindler also preserved a “Note of Thanks” prepared for the “Wiener Zeitung” and signed by Beethoven, which ends with a just and merited tribute to Mälzel:

(For the “Intelligenz-Blatt” of the “Wiener Zeitung.”)I esteem it to be my duty to thank all the honored participants in the Academy given on December 8, and 12, for the benefit of the sick and wounded Austrian and Bavarian soldiers who fought in the battle at Hanau.It was an unusual congregation of admirable artists wherein every individual was inspired by the single thought of contributing something by his art for the benefit of the fatherland, and coöperated without considering rank in subordinate places in the excellent execution of the whole.While Herr Schuppanzigh at the head of the violins carried the orchestra by his fiery and expressive playing, Hr. Chief-Chapelmaster Salieri did not scruple to beat time for the drummers and salvos; Hr. Spohr and Hr. Mayseder, each worthy of leadership because of his art, collaborated in the second and third places and Hr. Siboni and Giuliani also occupied subordinate positions.To me the direction of the whole was assigned only because the music was of my composition; had it been by another, I should have been as willing as Hr. Hummel[115]to take my place at the big drum, as we were all filled with nothing but the pure love of country and of joyful sacrifice of our powers for those who sacrificed so much for us.But our greatest thanks are due to Hr. Mälzel, since it was he who first conceived the idea of this academy and there fell to him afterward themanagement, care and arrangement—the most arduous labors of all. I must also thank him in particular, because by the projection of this academy, he gave me the opportunity, long and ardently desired, by means of the composition especially written for this philanthropic purpose and delivered to him without pay, to lay a work of magnitude upon the altar of the fatherland under the existing conditions.Ludwig van Beethoven.

(For the “Intelligenz-Blatt” of the “Wiener Zeitung.”)

I esteem it to be my duty to thank all the honored participants in the Academy given on December 8, and 12, for the benefit of the sick and wounded Austrian and Bavarian soldiers who fought in the battle at Hanau.

It was an unusual congregation of admirable artists wherein every individual was inspired by the single thought of contributing something by his art for the benefit of the fatherland, and coöperated without considering rank in subordinate places in the excellent execution of the whole.

While Herr Schuppanzigh at the head of the violins carried the orchestra by his fiery and expressive playing, Hr. Chief-Chapelmaster Salieri did not scruple to beat time for the drummers and salvos; Hr. Spohr and Hr. Mayseder, each worthy of leadership because of his art, collaborated in the second and third places and Hr. Siboni and Giuliani also occupied subordinate positions.

To me the direction of the whole was assigned only because the music was of my composition; had it been by another, I should have been as willing as Hr. Hummel[115]to take my place at the big drum, as we were all filled with nothing but the pure love of country and of joyful sacrifice of our powers for those who sacrificed so much for us.

But our greatest thanks are due to Hr. Mälzel, since it was he who first conceived the idea of this academy and there fell to him afterward themanagement, care and arrangement—the most arduous labors of all. I must also thank him in particular, because by the projection of this academy, he gave me the opportunity, long and ardently desired, by means of the composition especially written for this philanthropic purpose and delivered to him without pay, to lay a work of magnitude upon the altar of the fatherland under the existing conditions.

Ludwig van Beethoven.

Why was this document not printed? Beethoven had suddenly quarreled with Mälzel.

Evidence of the impatience with which Beethoven conducted the controversy with the heirs of Prince Kinsky, concerning the payment of the annuity installments, is given by a letter dated “Vienna, December 18, 1813,” to Dr. Beyer, a lawyer in Prague, in which he says:

I have many times cursed this unhappy decree through which I have been plunged into numberless sorrows. Oliva is no longer here and it is unendurable to lose so much time in the matter, which I steal from my art only to see things at a standstill. I have now sent a new opinion to Wolff, he wanted to begin legal proceedings, but I think it better as I have written to Wolff, first to send a petition to the general courts—give me your help in the matter and do not let me go to destruction, here, surrounded by innumerable enemies in everything that I do, I am almost desperate. My brother, whom I have overwhelmed with benevolences, with whose consent I certainly am ... partly in misery is—my greatest enemy!... I would gladly have taken the entire matter out of Wolff’s hands and placed it in yours, but we should only make new enemies.

Compositions and Publications of 1813

The ascertained compositions of this year are:

I. Triumphal March, C major, for Kuffner’s “Tarpeia.”II. “Wellington’s Victory.”III. Song: “Der Bardengeist” (“On November 3d, 1813”).IV. Canon: “Kurz ist der Schmerz.” (First form.) “For Herrn Naue as a souvenir from L. v. Beethoven, Vienna, November 23, 1813.” Johann Friedrich Naue, successor to Türk as Musik-Direktor, etc., at Halle, born in 1790, appears to have been in Vienna on a visit this Autumn.V. Irish airs quite, or nearly, completed.

I. Triumphal March, C major, for Kuffner’s “Tarpeia.”

II. “Wellington’s Victory.”

III. Song: “Der Bardengeist” (“On November 3d, 1813”).

IV. Canon: “Kurz ist der Schmerz.” (First form.) “For Herrn Naue as a souvenir from L. v. Beethoven, Vienna, November 23, 1813.” Johann Friedrich Naue, successor to Türk as Musik-Direktor, etc., at Halle, born in 1790, appears to have been in Vienna on a visit this Autumn.

V. Irish airs quite, or nearly, completed.

Publications:

In Thomson’s preface to the First Volume of “A Select Collection of Original Irish Airs,” dated “Edinburgh, Anno 1814,” he remarks: “After the volume was printed and some copies of it had been circulated, an opportunity occurred of sending it to Beethoven, who corrected the few inaccuracies that had escaped the notice of the Editor and his friends; and he trusts it will be found without a single error.”It is to be inferred from this, that the first volume was published, at the latest, this year; but the corrections were not sent to Thomson until September, 1814. The songs were originally printed in numbers. Thusof the first volume of the Scotch Songs, principally by Koželuch and Pleyel, the First, Third, and Fourth Sets, now before the writer, contain 25 songs each.It may be assumed then that at least a part of the Irish Songs came from the press in 1813. The song “Der Bardengeist” was published as a supplement to the “Musenalmanach” of Joh. Erichson for 1814. The preface of the almanac is dated November 20, 1813, and the book was doubtless published before New Year’s Day, 1814.

It is to be inferred from this, that the first volume was published, at the latest, this year; but the corrections were not sent to Thomson until September, 1814. The songs were originally printed in numbers. Thusof the first volume of the Scotch Songs, principally by Koželuch and Pleyel, the First, Third, and Fourth Sets, now before the writer, contain 25 songs each.

It may be assumed then that at least a part of the Irish Songs came from the press in 1813. The song “Der Bardengeist” was published as a supplement to the “Musenalmanach” of Joh. Erichson for 1814. The preface of the almanac is dated November 20, 1813, and the book was doubtless published before New Year’s Day, 1814.

The Year 1814—Popular Performances Repeated—Revision of “Fidelio”—The Opera Succeeds—Anton Schindler Enters Beethoven’s Life—The Quarrel with Mälzel—Moscheles—The Vienna Congress—J. W. Tomaschek—Count Rasoumowsky’s Palace Burned—Compositions of the Year.

On the last day of 1813, the “Wiener Zeitung” contained this public notice:

Musical AcademyThe desire of a large number of music-lovers whom I esteem as worthy of honor, to hear again my grand instrumental composition on “Wellington’s Victory at Vittoria,” makes it my pleasant duty herewith to inform the valued public that on Sunday, the 2d of January, I shall have the honor to perform the aforementioned composition with added vocal pieces and choruses and aided by the most admirable musicians of Vienna in the R. I. large Ridotto Room for my benefit.Tickets of admission are to be had daily in the Kohlmarkt in the house of Baron v. Haggenmüller, to the right of the court on the ground floor, in the comptoir of Baron v. Pasqualati; parterre 2 fl. gallery 3 fl. Vienna standard.Ludwig van Beethoven.

Musical Academy

The desire of a large number of music-lovers whom I esteem as worthy of honor, to hear again my grand instrumental composition on “Wellington’s Victory at Vittoria,” makes it my pleasant duty herewith to inform the valued public that on Sunday, the 2d of January, I shall have the honor to perform the aforementioned composition with added vocal pieces and choruses and aided by the most admirable musicians of Vienna in the R. I. large Ridotto Room for my benefit.

Tickets of admission are to be had daily in the Kohlmarkt in the house of Baron v. Haggenmüller, to the right of the court on the ground floor, in the comptoir of Baron v. Pasqualati; parterre 2 fl. gallery 3 fl. Vienna standard.

Ludwig van Beethoven.

Mälzel saw, therefore, that the objects for which he had sacrificed the “Battle,” for which he had lost so many precious weeks and had spent so much labor and pains, were accomplished in so far as Beethoven’s new works were now the subjects of general interest and curiosity, and their repeated performance to large and profitable audiences was secured. To his courage and sagacity this was wholly due. It is thoroughly unjust to deny or ignore the value of his services. What his feelings were now, to find himself deprived of all share in the benefit resulting from them, and therefore left without compensation, may readily be conceived. His Mechanical Trumpeter was necessarily discarded with himself, and Beethoven had to find something to take its place on theprogramme. Hence this note (in December) to Moritz Lichnowsky:

If you, worthy Count, want to take part in our consultation I inform you that it will be held this afternoon at half after 3 o’clock in the Spielmann house on the Graben 1188 in the fourth storey at Hr. Weinmüller’s—it would rejoice me time permitting if you were to attend.Entirely yourBeethoven.

Entirely yourBeethoven.

The result of this conference was the selection of Nos. 6, 7 and 8 of the “Ruins of Athens” music, viz: the “Solemn March with Chorus” and the concluding Bass Air, sung by Weinmüller, with the choruses. The last was exceedingly appropriate in a concert in the Redouten-Saal, it being the number in which (as in the old Bonnian “Blick in die Zukunft”) the bust of the monarch is made suddenly to appear. To insure the effectiveness of this is the object of a humorous note to Zmeskall, on New Year’s Day.

All would be well if there were but a curtain, without it the Air will fall through. Only to-day do I learn this from S. and it grieves me—let there be a curtain even if it be only a bed-curtain, only a sort of screen which can be removed for the moment, a veil, etc. There must be something, the Air is too dramatic, too much written for the theatre, to be effective in a concert; without a curtain or something of the sort all of its meaning will be lost!—lost!—lost!—To the devil with everything! The Court will probably come, Baron Schweiger asked me to go there at once, Archduke Karl admitted me to his presence and promised to come. The Empress did not accept nor did she decline.Hangings!!! or the Air and I will hang to-morrow. Farewell in the new year, I press you as warmly to my heart as in the old—with or without curtain.

Hangings!!! or the Air and I will hang to-morrow. Farewell in the new year, I press you as warmly to my heart as in the old—with or without curtain.

The orchestra was for the most part composed of the same professional and amateur artists as had taken part in the two previous concerts, so that the rehearsals were comparatively inexpensive, the only new music being the selections from “The Ruins”; but Salieri, as director of the cannonade, gave place to Hummel. Franz Wild, the singer, was present and records in his “Autobiography” his reminiscences of the occasion thus:

He (Beethoven) mounted the conductor’s platform, and the orchestra, knowing his weakness, found itself plunged into an anxious excitement which was justified only too soon; for scarcely had the music begun before its creator offered a bewildering spectacle. At thepianopassages he sank upon his knee, at thefortehe leaped up, so that his figure, now shrivelling to that of a dwarf, disappeared under the desk and anon stretched up far above it like a giant, his hands and arms working as if with the beginning of the music a thousand lives had entered every member. At first this happened without disturbance of the effect of thecomposition, for the disappearance and appearance of his body was synchronous with the dying away and the swelling of the music; but all at once the genius ran ahead of his orchestra and the master disappeared at thefortepassages and appeared again at thepiano. Now danger was imminent and at the critical moment Chapelmaster Umlauf took the commander’s staff and it was indicated to the orchestra that he alone was to be obeyed. For a long time Beethoven noticed nothing of the change; when he finally observed it, a smile came to his lips which, if ever a one which kind fate permitted me to see could be called so, deserved to be called “heavenly.”

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