Chapter XV

Cantata: “Der glorreiche Augenblick”

Beethoven had announced a grand concert for November 20, in the large Ridotto Room, but advertisements in the “Wiener Zeitung” of the 18th postponed it till November 22d, then till the 27th, and finally till the 29th. On November 30th, the newspaper reports:

At noon of yesterday, Hr. Ludwig v. Beethoven gave all music-lovers an ecstatic pleasure. In the R. I. Ridotto Room he gave performances of his beautiful musical representation of Wellington’s Battle at Vittoria, preceded by the symphony which had been composed as a companion-piece. Between the two works an entirely new, etc., etc., cantata,Der glorreiche Augenblick.

One would like to know what Beethoven said when he read this; for the symphony supposed by the writer to be composed as a companion-piece (Begleitung) to the “Wellington’s Victory” was the magnificent Seventh![144]

The solo singers in the Cantata were Mme. Milder, Dem. Bondra, Hr. Wild and Hr. Forti, all of whom sang well, and the Milder wonderfully. “The two Empresses, the King of Prussia” and other royalties were present and “the great hall was crowded. Seated in the orchestra were to be seen the foremost virtuosi, who were in the habit of showing their respect for him and art by taking part in Beethoven’s Academies.” All the contemporary noticesagree as to the enthusiastic reception of the Symphony and the Battle, and that the Cantata, notwithstanding the poverty of the text, was, on the whole, worthy of the composer’s reputation and contained some very fine numbers. The concert, with precisely the same programme, was repeated in the same hall on Friday, December 2d, for Beethoven’s benefit—nearly half the seats being empty! And again in the evening of the 25th for the benefit of the St. Mark’s Hospital, when, of course, a large audience was present. Thus the Cantata was given three times in four weeks, and probably Spohr, who was still in Vienna, played in the orchestra; yet he gravely asserts in his autobiography that “the work was not performed at that time.”

The proposed third concert for Beethoven’s benefit was abandoned and there is no clue to the “new things in hand” for it, which Beethoven mentioned in a letter to Archduke Rudolph, unless possibly the “Meeresstille und glückliche Fahrt” may have been begun for the occasion. The most remarkable and gratifying thing in the letter, however, is to find Beethoven once more speaking of “pleasures and joy”—whence arising, we learn from Schindler. True, he does not, nor cannot yet, speak from personal observation; but his well-known relations to the composer began while the memories of these days were still fresh; and what he records is derived from Beethoven himself for the most part, though, as usual, he has inserted a statement or two, honestly made, but not the less incorrect on that account. But first, a paragraph from an article by Schindler in Raumer’s “Hist. Taschenbuch,” published in 1863:

The rôle which Rasoumowsky played in Vienna at this time was one of unparalleled brilliancy. From the first weeks of the Congress his house was full. Thus Gentz notes under date Sept. 18: “Visited Rasoumowsky; there innumerable visitors, among others Lord and Lady Castlereagh, Count Münster, Count Westphalen, Mr. Coke, the Marquis de Saint-Marsan, Count Castellafu, all the Prussians, etc.” But as balls soon became the order of the day and Count Stackelberg had given his on October 20, 1814, when the Czar and Czarina of Russia, the King of Prussia and other grandees of all kinds appeared, he also planned one for December 6, and Gentz, who permitted himself the magical vision for only a moment and had to work that night till two o’clock on his dispatches, assures us that this feast was the most beautiful of all that he had attended since the arrival of the French monarch. It was only overshadowed by that which Czar Alexander gave in the same palace, which he borrowed for the occasion from his princely subject.

Honors Received at the Vienna Congress

Turn we to Schindler:

The end of the second period (in Beethoven’s life) showed us the composer on a plane of celebrity which may fairly be described as one ofthe loftiest ever reached by a musician in the course of his artistic strivings. Let us not forget that it was the fruit of twenty years of tireless endeavor. The great moment in the history of the world with which this celebration of his fame was synchronous could not fail to give the incident a brilliancy unparalleled in the history of music. The apparent extravagance of the statement is pardonable when we add that nearly all the rulers of Europe who met at the Vienna Congress placed their seals on our master’s certificate of fame.

As Rasoumowsky was not elevated to the rank of Prince until June 3rd, 1815, Schindler, in his next sentences, is all wrong in making that incident “the cause of festivities of a most extraordinary character to which Beethoven was always invited.”

There (Schindler continues) he was the object of general attention on the part of all the foreigners; for it is the quality of creative genius combined with a certain heroism, to attract the attention of all noble natures. Shall we not call it heroism, when we see the composer fighting against prejudices of all kinds, traditional notions in respect of his art, envy, jealousy and malice on the part of the mass of musicians, and besides this against the sense most necessary to him in the practice of his art, and yet winning the exalted position which he occupies? No wonder that all strove to do him homage. He was presented by Prince [Count] Rasoumowsky to the assembled monarchs, who made known their respect for him in the most flattering terms. The Empress of Russia tried in particular to be complimentary to him. The introduction took place in the rooms of Archduke Rudolph, in which he was also greeted by other exalted personages. It would seem as if the Archduke was desirous always to take part in the celebration of his great teacher’s triumph by inviting the distinguished foreigners to meet Beethoven. It was not without emotion that the great master recalled those days in the Imperial castle and the palace of the Russian Prince; and once he told with a certain pride how he had suffered the crowned heads to pay court to him and had always borne himself with an air of distinction.

There is reason to believe that these receptions in the apartments of the Archduke did not begin until those at Rasoumowsky’s had come to their disastrous end. Huge as the palace was, it lacked space for the crowds invited thither to the Czar’s festivities. A large temporary structure of wood was therefore added on the side next the garden, in which, on the evening of December 30th, a table for 700 guests was spread. Between five and six o’clock of the morning of the 31st, this was discovered to be on fire—probably owing to a defective flue—the conflagration extending to the main building and lasting until noon.

Within the space of a few hours several rooms in this gorgeous establishment, on which for 20 years its creator had expended everything that splendor, artistic knowledge and liberality could offer, were prey of the raging flames. Among them were the precious library and theinestimable Canova room completely filled with sculptures by this master, which were demolished by the falling of the ceiling.The loss was incalculable. To rebuild the palace out of his own means was not to be thought of; but Alexander lost no time in offering his assistance and in sending Prince Wolkonski to him to learn how much money would be required to defray the principal cost. The Count estimated it at 400,000 silver rubels, which sum he requested as a loan, and received on January 24, 1815. But the sum was far from enough, and in order to obtain further loans, ownership of the splendid building had to be sacrificed.

The loss was incalculable. To rebuild the palace out of his own means was not to be thought of; but Alexander lost no time in offering his assistance and in sending Prince Wolkonski to him to learn how much money would be required to defray the principal cost. The Count estimated it at 400,000 silver rubels, which sum he requested as a loan, and received on January 24, 1815. But the sum was far from enough, and in order to obtain further loans, ownership of the splendid building had to be sacrificed.

And thus Rasoumowsky also passes out of our history.—Among the visitors to Vienna at the time of the Congress was Varnhagen von Ense, who had gone into the diplomatic service; he came in the company of the Prussian Chancellor von Hardenburg. His attitude toward Beethoven had cooled—probably because of Oliva’s complaints touching Beethoven’s behavior towards him. His brief report of his meeting with the composer derives some interest from its allusion to Prince Radziwill, to whom Beethoven dedicated the Overture, Op. 115 (which was not published until 1825). The report (printed in Varnhagen’s “Denkwürdigkeiten,” Vol. III, pp. 314-15) is as follows:

Musical treats were offered on all hands, concerts, the church, opera, salon, virtuosi and amateurs all gave of their best. Prince Anton Radziwill, who was already far advanced in his composition of Goethe’s “Faust” and here gave free rein to his musical inclinations, was the cause of my again looking up my sturdy Beethoven, who, however, since I saw him last had grown more deaf and unsociable, and was not to be persuaded to gratify our wishes. He was particularly averse to our notables and gave expression to his repugnance with angry violence. When reminded that the Prince was the brother-in-law of Prince Louis Ferdinand of Prussia, whose early death he had so deeply deplored and whose compositions he esteemed highly, he yielded a trifle and agreed to the visit. But it is not likely that a more intimate acquaintance followed. I also refrained from taking the uncouth artist to Rahel, for society rendered him obstreperous and nothing could be done with him alone, nothing could be done unless he was disposed to play. Besides, though famous and honored, he was not yet on that pinnacle of recognition which he has since attained.

Compositions and Publications of 1814

The compositions of the year 1814 were these:

I. Vocal Trio: “Tremate, empj, tremate.” Practically composed in 1801-02, but not known to have been completed and written out for performance and publication until “something for Milder” was needed in the concert of February 27th.II. “Germania’s Wiedergeburt”; chorus in Treitschke’s “Gute Nachricht.”III. “Fidelio”; revised and altered.IV. “Un lieto Brindisi”;cantata campestre,four voices.V. Elegiac Song: “Sanft wie du lebtest,” four voices and strings.VI. Chorus: “Ihr weisen Gründer.”VII. Sonata for Pianoforte, E minor, Op. 90.VIII. Overture in C, Op. 115.IX. Cantata: “Der glorreiche Augenblick.”X. Three vocal pieces and march (orchestration of the march in the Sonata, Op. 26), for Duncker’s tragedy “Leonore Prohaska.”XI. Canon: “Kurz ist der Schmerz”; second form as written in Spohr’s Album “on March 3d, 1815.”XII. Song: “Des Kriegers Abschied.”XIII. Song: “Merkenstein,” Op. 100; “On December 22d, 1814.”XIV. “Abschiedsgesang”; for two tenors and bass (“Die Stunde schlägt”). Note on the publication in the “Completed Works, etc.”: “Beethoven wrote this terzetto at the request of Magistrate Mathias Tuscher for the farewell party of Dr. Leop. Weiss before his removal to the city of Steyer.” Beethoven inscribed it: “From Beethoven, so that he may no longer be touched up.” (Um nicht weiter tuschiert zu werden.The pun on the Magistrate’s name is lost in the translation.Tuschirenmeans to touch up with India ink.)

II. “Germania’s Wiedergeburt”; chorus in Treitschke’s “Gute Nachricht.”

III. “Fidelio”; revised and altered.

IV. “Un lieto Brindisi”;cantata campestre,four voices.

V. Elegiac Song: “Sanft wie du lebtest,” four voices and strings.

VI. Chorus: “Ihr weisen Gründer.”

VII. Sonata for Pianoforte, E minor, Op. 90.

VIII. Overture in C, Op. 115.

IX. Cantata: “Der glorreiche Augenblick.”

X. Three vocal pieces and march (orchestration of the march in the Sonata, Op. 26), for Duncker’s tragedy “Leonore Prohaska.”

XI. Canon: “Kurz ist der Schmerz”; second form as written in Spohr’s Album “on March 3d, 1815.”

XII. Song: “Des Kriegers Abschied.”

XIII. Song: “Merkenstein,” Op. 100; “On December 22d, 1814.”

XIV. “Abschiedsgesang”; for two tenors and bass (“Die Stunde schlägt”). Note on the publication in the “Completed Works, etc.”: “Beethoven wrote this terzetto at the request of Magistrate Mathias Tuscher for the farewell party of Dr. Leop. Weiss before his removal to the city of Steyer.” Beethoven inscribed it: “From Beethoven, so that he may no longer be touched up.” (Um nicht weiter tuschiert zu werden.The pun on the Magistrate’s name is lost in the translation.Tuschirenmeans to touch up with India ink.)

The publications of the year:

I. Irish Airs, Vol. I, complete, published by Thomson.II. Chorus: “Germania’s Wiedergeburt”; published in June.III. Song: “An die Geliebte,” by J. L. Stoll; published as a supplement to the “Friedensblätter,” July 12.IV. Six Allemandes for Pianoforte and Violin, advertised by Ludwig Maisch on July 30. (The author lacks means and opportunity to determine the authenticity of these dances. It is, however, hardly probable that a Viennese publisher would ventureat that timeto use Beethoven’s name thus without authority.)V. “Fidelio”; Pianoforte arrangement by I. Moscheles. Published by Artaria and Co., in August.

I. Irish Airs, Vol. I, complete, published by Thomson.

II. Chorus: “Germania’s Wiedergeburt”; published in June.

III. Song: “An die Geliebte,” by J. L. Stoll; published as a supplement to the “Friedensblätter,” July 12.

IV. Six Allemandes for Pianoforte and Violin, advertised by Ludwig Maisch on July 30. (The author lacks means and opportunity to determine the authenticity of these dances. It is, however, hardly probable that a Viennese publisher would ventureat that timeto use Beethoven’s name thus without authority.)

V. “Fidelio”; Pianoforte arrangement by I. Moscheles. Published by Artaria and Co., in August.

The Year 1815—New Opera Projects—Beethoven Before Crowned Heads—End of the Kinsky Trouble—Death of Karl van Beethoven—The Nephew—Dealings with England.

Beethoven might well have adopted Kotzebue’s title: “The most Remarkable Year of my Life” and written his own history for 1814, in glowing and triumphant language; but now the theme modulates into a soberer key. “Then there is the matter of a new opera,” says a letter to the Archduke early in December. The “Sammler” of the 17th explains the allusion: “It is with great pleasure that we inform the music-loving public that Herr van Beethoven has contracted to compose an opera. The poem is by Herrn Treitschke and bears the title: ‘Romulus and Remus.’” The notice was based upon this note to Treitschke:

I will compose Romulus and shall begin in a few days, I will come to you in person, firstoncethenseveral timesso that we may discuss the whole matter with each other.

Now here was a promising operatic project; but before six weeks had passed came the “Allg. Mus. Zeitung” bringing Johann Fuss’s musical “Review of the month of December,” wherein among the items of Vienna news was a notice that “Hr. Fuss had composed an opera in three acts entitled ‘Romulus and Remus’ for the Theater-an-der-Wien”! And this was so; portions of it were afterwards sung by a musical society of which Dr. L. Sonnleithner was a member, and in Pressburg it was put upon the stage at a later date;—but it never came to performance in the theatres of Vienna, perhaps in consequence of measures adopted after the following letter to Treitschke:

I thought I could expedite the matter by sending Hrn. v. Schreyvogel a copy of this letter—but no.You see this Fuss can attack me in all the newspapers, unless I can produce some written evidenceagainst him, or you—or the director of thetheatre undertake to make a settlement with him. On the other hand the business of my contract for the opera is not concluded.I beg of you to write me an answer especially as regards Fuss’s letter; the matter would be easily decided in the court ofart, but this is not the case, which, much as we should like to, we must consider.

I thought I could expedite the matter by sending Hrn. v. Schreyvogel a copy of this letter—but no.

You see this Fuss can attack me in all the newspapers, unless I can produce some written evidenceagainst him, or you—or the director of thetheatre undertake to make a settlement with him. On the other hand the business of my contract for the opera is not concluded.

I beg of you to write me an answer especially as regards Fuss’s letter; the matter would be easily decided in the court ofart, but this is not the case, which, much as we should like to, we must consider.

The matter was so arranged with Fuss as to leave the text in Beethoven’s hands; but how, and on what terms, is not known.

A Polonaise for the Empress of Russia

Among the sketches to “Der glorreiche Augenblick” appears the theme of the Polonaise for Pianoforte, Op. 89, the story of which is as follows: In a conversation with Beethoven one day, in the time of the Congress, Bertolini suggested to him that, as polonaises were then so much in vogue, he should compose one and dedicate it to the Empress of Russia; for, perhaps, thereby he might also obtain some acknowledgment from Emperor Alexander for the dedication to him of the Violin Sonatas, Op. 30,—for none had ever been made. As usual, Beethoven at first scorned dictation, but at length thought better of the proposal, sat down to the pianoforte, improvised various themes and requested Bertolini to choose one; which he did. When it was completed, they waited upon Walkonski, to seek through him permission to make the proposed dedication, which was granted. At the appointed time Beethoven was admitted to an audience with the Empress and presented the Polonaise, for which he received a present of 50 ducats. On this occasion he was asked, if he had ever received anything from the Czar? As he had not, a hundred ducats was added for the Sonatas.[145]

It was about this time (precisely when the painter could not remember when speaking of it in 1861), that Beethoven sat again to his friend Mähler, who wished to add his portrait to his gallery of musicians. This was the picture which, after the death of the artist, was purchased by Prof. Karajan. Another portrait of Beethoven was painted by Mähler for Gleichenstein. On the 25th of January, a grand festival took place in the Burg on the occasion of the Russian Empress’s birthday, which in part consisted of a concert in the Rittersaal. The last piece on the programme was the canon in “Fidelio”: “Mir ist so wunderbar,” and by a whimsical stroke of fortune Beethoven himself appeared, and, to the audience of emperors and empresses, kings and queens, with their ministers and retinues, played for the last time in public! Wild, who dates the concert a month too soon, gives an accountof it in which, after telling of his own success with “Adelaide,” he says:

It would be as untruthful as absurd were I to deny that my vanity was flattered by the distinction which the gathered celebrities bestowed upon me; but this performance of “Adelaide” had one result which was infinitely more gratifying to my artistic nature; it was the cause of my coming into closer contact with the greatest musical genius of all time, Beethoven. The master, rejoiced at my choice of his song, hunted me up and offered to accompany me. Satisfied with my singing he told me that he would orchestrate the song. He did not do this, but wrote for me the cantata “An die Hoffnung” (words by Tiedge) with pianoforte accompaniment, which, he playing for me, I sang at a matinée before a select audience.

By far the most important event in Beethoven’s history during these months, was the final settlement, by compromise, of the annuity affair with the Kinsky heirs, on the 18th of January. So soon as the legal formalities could be ended and communicated to Beethoven, he issued in autograph a power of attorney to Baron Josef von Pasqualati in Prague to collect the money due, and act for him in all things necessary. On March 26th, Pasqualati acknowledged the receipt of 2479 florins W. W. as payment on the annuity in full up to the end of March, 1815. In this instance “W. W.” (Wiener Währung) meant notes of redemption, since the bank-notes had been retired from circulation in 1812. The compromise decree arrived at through the ministration of Dr. Kanka fixed the original annuity of 1800 florins at 1200 florins, beginning on November 3d, 1812. There was therefore due to Beethoven, for from November 3d to the end of March, 1815, 2890 florins, from which was deducted 411 florins, as the equivalent of the 60 ducats paid to Beethoven by Prince Kinsky in October, 1812, leaving 2479 florins as aforesaid. The decision in the case with Lobkowitz also soon followed. According to the judgment of the Court, entered on April 19, 1815, the future annual payments were fixed at 700 florins (the equivalent of 280 fl. conventional coin, silver), and the 2508 fl. arrears were ordered paid in notes of redemption within two months. Payments were made accordingly and (as Dr. v. Köchel reported in a private note to the author), from 1811 up to his death, Beethoven received on the annuity contract the following sums every year:

From Archduke Rudolph1500 fl.From Prince Kinsky1200From Prince Lobkowitz700Total3400fl.

This sum, 3400 fl. in notes of redemption, was the equivalent of 1360 fl. Con. M., silver, or 952 Prussian thalers.

Lobkowitz’s Generous and Honorable Conduct

Notwithstanding that Prince Lobkowitz’s financial affairs had been satisfactorily ordered, his return to Vienna was delayed until the Spring of 1815, one reason being that (as he states in a letter to Archduke Rudolph, dated Prague, December 29, 1814) an opinion prevailed in the Austrian capital that his presence would be “unseemly.” In this letter he gives expression to his feelings toward Beethoven as follows:

Although I have reason to be anything but satisfied with the behavior of Beethoven toward me, I am nevertheless rejoiced, as a passionate lover of music, that his assuredly great works are beginning to be appreciated. I heard “Fidelio” here[146]and barring the book, I was extraordinarily pleased with the music, except the two finales, which I do not like very much. I think the music extremely effective and worthy of the man who composed it.

Is this not nobly said?

Consider these facts: Lobkowitz was now deprived of the control of his revenues; those revenues, in so far as they were based upon contracts, were subject to theFinanz-Patentof 1811; the curators of his estates were also bound by it; and the General Court (Landrecht) had no power arbitrarily to set it aside. What that tribunal could and did do was, by its assent and decree, to give binding force to such agreement between the parties in principal, as had obtained the sanction of the curators, with, probably, the consent of the principal creditors of the Prince. It follows then that the concession of Beethoven’s full demand of 700 fl. in notes of redemptioncouldhave been obtained only through the good will and active intervention of Lobkowitz himself, using his personal influence with the other parties concerned. Schindler incidentally confirms this.

Will the reader here pause a moment and think what impression the aspersions on Lobkowitz’s character in Beethoven’s letters have left upon his mind? Have they not begotten a prejudice so strengthened by “damnable iteration” that it is now hardly possible to overcome it, and believe it unfounded? Lobkowitz, young, generous to prodigality, rendered careless by the very magnitude of his possessions, had, in the lapse of some twenty years, so squandered his enormous resources, as to fall into temporary embarrassments, which threw the responsibility ofmeeting his pecuniary engagements upon others, who were bound by the nature of their office to pay none but strictly legal claims. Thus Beethoven became a loser in part of what was originally no debt, but a gift—or rather would have been so, but for the interference of Lobkowitz.

We have here another warning of the great caution to be exercised when using private correspondence for purposes of biography. In writing of Beethoven this is especially necessary, because so large a proportion of it consists of confidential notes and communications containing the ebullitions of splenetic moments, and not seldom hasty charges and mistaken accusations, such as he gladly withdrew on learning the truth. To accept all this without question is preposterous; to use it as authentic historic matter without scrupulous examination, is to do great injustice to the dead.

The proof is ample, that Beethoven was already fully convinced of the entire innocence of both Prince Kinsky and Prince Lobkowitz of all desire to escape any really just demands upon them: yet, probably, until the greater part of our present Beethoven literature has sunk into oblivion, the memory of those noble and generous personages will be made to suffer on the authority of Beethoven’s hasty expressions.

A letter written in English, probably by his friend Häring, who had been much in England, and signed by Beethoven, marks the progress of his business with Thomson:

Address.Mr. George Thomson, merchant in the musical line.Edingbourgh, Scottland.Sir,Many concerns have prevented my answers to your favors, to which I reply only in part. All your songs with the exception of a few are ready to be forwarded. I mean those to which I was to write the accompaniments, for with respect to the 6 Canzonettes, which I am tocomposeI own that the honorary you offered is totally inadequate. Circumstances here are much altered and taxes have been so much raised after the English fashion that my share for 1814 was near 60£s. besides an original good air,—and what you also wish—an Overture, are perhaps the most difficult undertakings in musical compositions. I therefore beg to state that my honorary for 6 songs or airs must be 35£ or seventy impl. Ducats—and for an Overture 20£ or 50 impl. Ducats. You will please to assign the payment here as usual, and you may depend that I shall do you justice. No artiste of talent and merit will find my pretentions extravagant.Concerning the overture you will please to indicate in your reply whether you wish to have it composed for an easy or more difficultexecution. I expect your immediate answer having several orders to attend, and I shall in a little time write more copiously in reply to your favors already received. I beg you to thank the author for the very ingenious and flattering verses, which obtained by your means. Allow me to subscribe myselfSir,your very obedt. & humble servt.Ludwig van Beethoven.Vienna, Feb. 7 [?], 1815.

Address.

Mr. George Thomson, merchant in the musical line.

Edingbourgh, Scottland.

Sir,

Many concerns have prevented my answers to your favors, to which I reply only in part. All your songs with the exception of a few are ready to be forwarded. I mean those to which I was to write the accompaniments, for with respect to the 6 Canzonettes, which I am tocomposeI own that the honorary you offered is totally inadequate. Circumstances here are much altered and taxes have been so much raised after the English fashion that my share for 1814 was near 60£s. besides an original good air,—and what you also wish—an Overture, are perhaps the most difficult undertakings in musical compositions. I therefore beg to state that my honorary for 6 songs or airs must be 35£ or seventy impl. Ducats—and for an Overture 20£ or 50 impl. Ducats. You will please to assign the payment here as usual, and you may depend that I shall do you justice. No artiste of talent and merit will find my pretentions extravagant.

Concerning the overture you will please to indicate in your reply whether you wish to have it composed for an easy or more difficultexecution. I expect your immediate answer having several orders to attend, and I shall in a little time write more copiously in reply to your favors already received. I beg you to thank the author for the very ingenious and flattering verses, which obtained by your means. Allow me to subscribe myself

Sir,your very obedt. & humble servt.Ludwig van Beethoven.

Vienna, Feb. 7 [?], 1815.

“The Mount of Olives” in London

This naturally turns our attention to Beethoven’s English affairs. “Christus am Ölberg” (“The Mount of Olives,” as the oratorio is called in England and America) had been given for the first time in England on February 25, 1814, by Sir George Smart, who in 1861, in conversation with the author at his house (the one in which Weber died), related the circumstances of this production and of “Wellington’s Victory,” which was a consequence of the success of the oratorio, substantially as follows:

In the winter of 1812-1813, Smart undertook the Lenten oratorio season at Drury Lane Theatre, introducing at the first concert, January 30, 1813, Handel’s “Messiah” with Mozart’s additional accompaniments, but not noting this fact upon the programme. The audience was delighted with the new effects and Mozart’s name appeared on the next programme. During this season Smart heard the “Christus am Ölberg” spoken of. Desiring to find some novelty the next season and Beethoven having already a great name, he offered £50 to anyone who would procure him the score of that work published by Breitkopf and Härtel—an exceedingly difficult thing to get at that time, when Napoleon had almost hermetically sealed the Continent against England. The next winter (1813-14) Jack Morris, keeper of a tavern or eating-house of the better sort, a man who had free entry behind the scenes of the theatre and was continually there, came to Smart and put the score of the oratorio into his hands, to his (Smart’s) great astonishment.

“Well,” said Smart, “I’ll give you the £50.”

“No,” was the reply, “I’ll take only two guineas, for that’s what I paid for it.”

“How did you get it?” asked Smart.

“A friend of mine who is a King’s Messenger bought it for me in Leipsic.”

The only acknowledgment that Morris would take, beside the two guineas, was that Smart should accept an invitation from him to be present at a pugilistic exhibition and at the supper afterwards. The score bears the date of reception, January 7, 1814.

Now to bring it out.

Samuel J. Arnold translated the text, putting all the characters into the third person, so as not to shock English feelings of reverence by producing Christ and the Apostles on the stage, and Smart adapted the translation to the music. It was rehearsed at his house (“in this room,” said he), and very ill received by amateurs present, who told Smart, he was mad to produce such a thing! On February 25th, the first part of the programme of the “Oratorio,” a sacred concert, at Drury Lane Theatre, was selections from the “Messiah” in which Catalani sang; Part II, “The Mount of Olives,” solos by Mrs. Dickens, Mrs. Bland, Mr. Pyne and Mr. Bellamy; Part III, Musical selections. Parts I and II also closed with selections from “Paradise Lost” read by Miss Smith. The tenth, and last, performance was on May 28th.

Subsequently, Kramer, master of the Prince Regent’s band, told Smart that the Prince had the score of a Battle Symphony by Beethoven, and he was welcome to the use of it, if he desired to produce it. Smart, encouraged by the success of the “Christus,” was delighted, notwithstanding the musicians called the work a piece of musical quackery. On examining it, Sir George saw that it would never do with his audience to end with the fugue on “God save the King,” and consulted with Ferdinand Ries as to what kind of close to make. Ries added to the score a short passage of modulation, which led from the fugue into the plain, simple tune. The work was copied, rehearsed, and produced on the 10th of February, 1815, as Part II of a Drury Lane “Oratorio”—the word being used then for a sacred concert, like “Akademie” in Vienna for a secular one. As the orchestra ended Ries’ passage of modulation, the hymn was taken up and sung by the principal solo singers, and the full chorus. The audience used also to join in and make the old theatre ring again. The success was immense; it was performed several seasons, and Smart cleared £1000 by it.[147]

There is a sketchbook in the Mendelssohn collection, which shows in part what compositions employed Beethoven’s thoughts about this time. It contains sketches to marches; for a “Symphony in B minor”; a “Sonata ’cello pastorale”; a chorus, “Meeresstille”; a song, “Merkenstein.” This confirms a statement of Czerny’s: “On ‘Merkenstein,’ Beethoven composed two little songs, both, I think, for almanacs.” The one published bySteiner and Co., however, does not appear to have come out in that manner. The date of these sketches is fixed by a memorandum of Beethoven’s on the seventh leaf, of Smart’s production in London of “Wellington’s Victory”: “In Drurylane Theatre on February 10th, and repeated by general request on the 13th, ‘Wiener Zeitung’ of March 2d.” This led to inquiry, and Sir George Smart’s name, as leader of the Lenten concerts in London, became known to Beethoven, who engaged his friend Häring, who knew Smart intimately, to write the following English letter in his behalf:

Compositions Offered to England

To Sir George Smart,Great Portland St., London.My Dear Sir George:I see by the papers that you have brought forth in the theatre Beethoven’s battle and that it was received with considerable applause. I was very happy to find that your partiality to Mr. B’s compositions is not diminished and therefore I take the liberty in his name to thank you for the assistance you afforded in the performance of that uncommon piece of music. He has arranged it for the pianoforte, but having offered the original to his R. H. the Prince Regent, he durst not sell that arrangement to any Editor, until he knew the Prince’s pleasure, not only with respect to the dedication, but in general. Having waited so many months without receiving the least acknowledgment, he begged me to apply to you for advice. His idea is to dispose of this arrangement and of several other original compositions to an Editor in London—or perhaps to several united—if they would make a handsome offer—they would besides engage to let him know the day of the appearance for sale of the respective pieces, in order that the Editor here, may not publish one copy before the day to be mentioned. At the end of this letter follows the list of such compositions, with the price, which the Author expects. I am persuaded, Sir George, you will exert yourself to benefit this great genius. He talks continually of going to England, but I am afraid that his deafness, seemingly increasing, does not allow him the execution of this favorite idea.You are informed without doubt that his opera “Fidelio” has had the most brilliant success here, but the execution is so difficult, that it could not suit any of the English houses.I submit here his list with the prices. None of the following pieces has been published, but No. 2, 4 and 9 have been performed with the greatest applause.1. Serious Quartett for 2 violins, tenor and bass40 guineas.2. Battle of Vittoria—Score70 guineas.3. Battle of Vittoria arranged for the pianoforte30 guineas.4. A Grand Symphony—Score70 guineas.5. A Grand Symphony arranged for the pianoforte30 guineas.6. A Symphony—Key F—Score40 guineas.7. A Symphony, arranged20 guineas.8. Grand Trio for the pianoforte, violin and violoncello40 guineas.9. Three Overtures for a full Orchestraeach 30 guineas.10. The Three Arrangementseach 15 guineas.11. A Grand Sonata for the pianoforte and violin25 guineas.The above is the produce of four years labor.Our friend Neate has not yet made his appearance here—nor is it at all known where he is roving about. We—I mean mostly amateurs—are now rehearsing Händel’s “Messiah”—I am to be leader of the 2d violins; there will be this time 144 violins—first and second altogether, and the singers and remainder in proportion. I have been so unfortunate, as not to receive a single line or answer from England since my stay in Vienna, which is near three months; this discourages me very much from writing, for I have dispatched immediately after my arrival several letters and have been continuing to send letters, but all in vain. Amongst those to whom I wrote about two months ago, is our friend Disi—pray if you meet him and his very respectable family [give them] my best regards. I have passed so many happy hours in his house, it would be highly ungrateful for me to forget such an amiable family.Beethoven happening to call on me just now, he wishes to address a few lines to you [which you will] find at the bottom of this.... My direction is “Monsieur Jean de Häring, No. 298 Kohlmarkt, Vienna.”Poor B. is very anxious to hear something of the English editors, as he hardly can keep those of this city from him, who tease him for his works.

To Sir George Smart,

Great Portland St., London.

My Dear Sir George:

I see by the papers that you have brought forth in the theatre Beethoven’s battle and that it was received with considerable applause. I was very happy to find that your partiality to Mr. B’s compositions is not diminished and therefore I take the liberty in his name to thank you for the assistance you afforded in the performance of that uncommon piece of music. He has arranged it for the pianoforte, but having offered the original to his R. H. the Prince Regent, he durst not sell that arrangement to any Editor, until he knew the Prince’s pleasure, not only with respect to the dedication, but in general. Having waited so many months without receiving the least acknowledgment, he begged me to apply to you for advice. His idea is to dispose of this arrangement and of several other original compositions to an Editor in London—or perhaps to several united—if they would make a handsome offer—they would besides engage to let him know the day of the appearance for sale of the respective pieces, in order that the Editor here, may not publish one copy before the day to be mentioned. At the end of this letter follows the list of such compositions, with the price, which the Author expects. I am persuaded, Sir George, you will exert yourself to benefit this great genius. He talks continually of going to England, but I am afraid that his deafness, seemingly increasing, does not allow him the execution of this favorite idea.

You are informed without doubt that his opera “Fidelio” has had the most brilliant success here, but the execution is so difficult, that it could not suit any of the English houses.

I submit here his list with the prices. None of the following pieces has been published, but No. 2, 4 and 9 have been performed with the greatest applause.

1. Serious Quartett for 2 violins, tenor and bass40 guineas.2. Battle of Vittoria—Score70 guineas.3. Battle of Vittoria arranged for the pianoforte30 guineas.4. A Grand Symphony—Score70 guineas.5. A Grand Symphony arranged for the pianoforte30 guineas.6. A Symphony—Key F—Score40 guineas.7. A Symphony, arranged20 guineas.8. Grand Trio for the pianoforte, violin and violoncello40 guineas.9. Three Overtures for a full Orchestraeach 30 guineas.10. The Three Arrangementseach 15 guineas.11. A Grand Sonata for the pianoforte and violin25 guineas.

The above is the produce of four years labor.

Our friend Neate has not yet made his appearance here—nor is it at all known where he is roving about. We—I mean mostly amateurs—are now rehearsing Händel’s “Messiah”—I am to be leader of the 2d violins; there will be this time 144 violins—first and second altogether, and the singers and remainder in proportion. I have been so unfortunate, as not to receive a single line or answer from England since my stay in Vienna, which is near three months; this discourages me very much from writing, for I have dispatched immediately after my arrival several letters and have been continuing to send letters, but all in vain. Amongst those to whom I wrote about two months ago, is our friend Disi—pray if you meet him and his very respectable family [give them] my best regards. I have passed so many happy hours in his house, it would be highly ungrateful for me to forget such an amiable family.

Beethoven happening to call on me just now, he wishes to address a few lines to you [which you will] find at the bottom of this.... My direction is “Monsieur Jean de Häring, No. 298 Kohlmarkt, Vienna.”

Poor B. is very anxious to hear something of the English editors, as he hardly can keep those of this city from him, who tease him for his works.

Häring now writes the following for Beethoven to sign:

Give me leave to thank you for the trouble you have taken several times as I understand, in taking my works under your protection, by which I don’t doubt all justice has been done. I hope you will not find it indiscreet if I solicit you to answer Mr. Häring’s letter as soon as possible. I should feel myself highly flattered if you would express your wishes, that I may meet them, in which you will always find me ready, as an acknowledgment for the favors you have heaped upon my children.Yours gratefully,Ludwig van Beethoven.Vienna 16. March, 1815.And now I shall beg, my dear Sir George, not to take this long letter amiss and to believe that I am always with the greatest regard,Your most humble and obedient servant,John Häring.Vienna 19. March, 1815.

Yours gratefully,Ludwig van Beethoven.

Vienna 16. March, 1815.

And now I shall beg, my dear Sir George, not to take this long letter amiss and to believe that I am always with the greatest regard,

Your most humble and obedient servant,John Häring.

Vienna 19. March, 1815.

The works enumerated in this letter, taking them in the same order, are Op. 95, 91, 92, 93, 97, 113, 115, 117 and 96. Häring was evidently ignorant that all of Beethoven’s new works were even then sold, except for England. Steiner had purchased them. The precise terms of the contract between the composer and this publisher are not known; for, although the transaction was too important to have been left to a mere parole agreement, no written instrument has been discovered. Jahn had no copy of any; and Nottebohm writes (November 19, 1875): “I was yesterday in thecomptoir of Haslinger, but there nothing is to be found.” The earliest reference to the business yet discovered is a letter to Steiner, from which it is to be inferred that Karl van Beethoven was in some manner interested—perhaps as arranger, under his brother’s inspection, of the editions for pianoforte of the orchestral works:

Vienna, February 1, 1815.Most Wellborn Lieutenant-General!I have received to-day your letter to my brother and am satisfied with it but must beg of you to pay also thecost of the pianoforte arrangementsin addition, as I am obliged to pay foreverythingin the world andmore dearly than othersit would be a hardship for me; besides I don’t believe that you can complain about the honorarium of 250 ducats—but neither do I want to complain, therefore arrange for the transcriptions yourself, but all must be revised by me and if necessary improved, I hope that you are satisfied with this.In addition to this you mightgive my brother the collected pianoforte works of Clementi,Mozart,Haidn, he needs them forhis little son, do this my dearest Steiner, and be not stone,[148]as stony as your name is—farewell excellent Lieutenant-General, I am always.Yours truly,General-in-Chief,Ludwig van Beethoven.

Vienna, February 1, 1815.

Most Wellborn Lieutenant-General!

I have received to-day your letter to my brother and am satisfied with it but must beg of you to pay also thecost of the pianoforte arrangementsin addition, as I am obliged to pay foreverythingin the world andmore dearly than othersit would be a hardship for me; besides I don’t believe that you can complain about the honorarium of 250 ducats—but neither do I want to complain, therefore arrange for the transcriptions yourself, but all must be revised by me and if necessary improved, I hope that you are satisfied with this.

In addition to this you mightgive my brother the collected pianoforte works of Clementi,Mozart,Haidn, he needs them forhis little son, do this my dearest Steiner, and be not stone,[148]as stony as your name is—farewell excellent Lieutenant-General, I am always.

Yours truly,General-in-Chief,Ludwig van Beethoven.

Works Sold to Steiner

The works purchased by Steiner are named in a list sent by Nottebohm with the letter above cited. It is the copy of an unsigned memorandum, evidently proceeding from Beethoven, which, except the omission of the works mentioned in the Häring letter, runs thus:

NoteConcerning the following original musical compositions, composed by the undersigned, and surrendered as property to the licensed art dealer H. S. A. Steiner.1st. Score of the opera Fidelio.2d. Score of the cantataDer glorreiche Augenblick.3d. Score of a quartet for 2 violins, viola and basso.4th. Score of a grand Terzet to be sung with pianoforte arrangement.5th. Score of the Battle of Vittoria with pianoforte arrangement.6th. Pianoforte arrangement and score of a Symphony in F.7th. Pianoforte arrangement and score of a Symphony in A major.8th. Grand Trio for pianoforte, violin and basso in score.9th. Grand Sonata for pianoforte and violin in score.10th. Score of a Grand Overture in E-flat major.11th. Score of a Grand Overture in C major.12th. Score of a Grand Overture in G major.13th. 12 English songs with pianoforte accompaniment and German text.[149]For all of these works which H. Steiner may use as his property in all places except England, I have been wholly recompensed.Vienna, April 29, 1815.

Note

Concerning the following original musical compositions, composed by the undersigned, and surrendered as property to the licensed art dealer H. S. A. Steiner.

1st. Score of the opera Fidelio.2d. Score of the cantataDer glorreiche Augenblick.3d. Score of a quartet for 2 violins, viola and basso.4th. Score of a grand Terzet to be sung with pianoforte arrangement.5th. Score of the Battle of Vittoria with pianoforte arrangement.6th. Pianoforte arrangement and score of a Symphony in F.7th. Pianoforte arrangement and score of a Symphony in A major.8th. Grand Trio for pianoforte, violin and basso in score.9th. Grand Sonata for pianoforte and violin in score.10th. Score of a Grand Overture in E-flat major.11th. Score of a Grand Overture in C major.12th. Score of a Grand Overture in G major.13th. 12 English songs with pianoforte accompaniment and German text.[149]

For all of these works which H. Steiner may use as his property in all places except England, I have been wholly recompensed.

Vienna, April 29, 1815.

Whatever may have been the proposed interest of Karl van Beethoven in the contract, his failing health soon prevented him from performing any labor under it. The correspondence with Steiner and Co. indicates that the task of arranging the orchestral works for the pianoforte was performed by Haslinger and Anton Diabelli, with occasional assistance from Carl Czerny, under Beethoven’s superintendence.

Diabelli, born near Salzburg in 1781, had now been for some years one of the more prolific composers of light and pleasing music, and one of the best and most popular teachers in Vienna. He was much employed by Steiner and Co., as copyist and corrector, and in this capacity enjoyed much of Beethoven’s confidence, who also heartily liked him as a man. In the composer’s comical military staff, he was the “General Profoss,” and in the correspondence his name becomes “Diabolus”—for Beethoven could never resist the temptation to a play upon words. About the 1st of April Beethoven received a package which proved to be an opera text by Rudolph von Berge, sent to him with a letter by his old friend Amenda from Courland. While this letter was under way Beethoven received a visit from a friend of Amenda’s who, on his departure from Vienna, carried with him a letter in which he said:

You are 1000 times in my mind with your patriarchial simplicity—unfortunately for my good or that of others, fate denies my wishes in this respect, I can say that I live almost alone in this greatest city of Germany since I must live almost in estrangement from all persons whom I love or could love—on what kind of footing is music with you? Have you ever heard any of my great works there? Great say I—compared with the works of the Highest, everything is small!

Sketches for a “Bacchus” Opera

The opera book sent by Amenda was entitled, “‘Bacchus,’ Grand Lyric Opera in Three Acts.” The libretto was preserved among Schindler’s papers in the Royal Library in Berlin. It seems likely that Beethoven gave some thought to the opera and experimented with some themes. There are interesting notes on a work with a classical subject, the words apparently the beginning of an invocation to Pan, in a sketchbook of 1815, whichNottebohm describes in his “Zweite Beethoveniana” (p. 329et seq.) without saying whether they belong to Treitschke’s “Romulus” or von Berge’s “Bacchus.” Dr. Riemann assumes without hesitation that the sketches were made for “Bacchus” and sees a premonition of Wagner’s methods in the following:

Treble clef with motifbountifulbountiful Pannot quite so characteristic, it must be evolved out of the B. M.[150]where thedance only intermittentlyTreble clef with motifCorniThroughout the opera probably dissonances, unresolved or very differently, as our refined music cannot be thought of in connection with those barbarous times.

Treble clef with motifbountiful

bountiful

bountiful Pannot quite so characteristic, it must be evolved out of the B. M.[150]where thedance only intermittently

Treble clef with motifCorni

Corni

Throughout the opera probably dissonances, unresolved or very differently, as our refined music cannot be thought of in connection with those barbarous times.

On the approach of warm weather the Erdödys removed for the summer to Jedlersee, never to return to the Schottenbastei; and as Lichnowsky was dead, Beethoven had no inducement longer to remain in that vicinity and therefore departed from the Mölkerbastei—also never to return. The new lodging was in the third storey of a house then belonging to Count Lamberti, in the Sailerstätte, with a double number 1055, 1056, near which he had lived a dozen years before, having the same sunny aspect and the glorious view across the Glacis from the Karlkirche and the Belvidere Gardens, away across the Danube to the blue Carpathian mountains in the distance. In this house, about the first of June, Häring introduced to Beethoven the very fine English pianist and enthusiastic musician Charles Neate, who after five months’ study with Winter in Munich had come to Vienna in the hope of obtaining instruction from the great symphonist. To his application, Beethoven replied in substance: “I cannot teach, but I will give you an introduction to my master, Förster” (which he did by letter), “and you may bring your compositions to me for my inspection, and I will examine and remark upon them.” In consequence of this permission Neate saw him almost daily. Beethoven spent a part of this summer in Baden, and Neate took a room very near him. There the composer was in the habit of working all the forenoon, dining early at twelve or one o’clock, and, towards evening, walking with Neate—sometimes up theHelenen-Thal, oftener through the fields. Neate, in the course of his long life—he was nearly eighty when he related these things to the author[151]—had never met a man who so enjoyed nature; he took intense delight in flowers, in the clouds, in everything—“nature was like food to him, he seemed really to live in it.” Walking in the fields, he would sit down on any green bank that offered a good seat, and give his thoughts free course. He was then full of the idea of going to England, but the death of his brother and adoption of his nephew put an end to the project. Neate remembered the boy as a very beautiful, intelligent lad. Beethoven, at that time, and as Neate knew him, was charmingly good-tempered to those whom he liked—but his dislikes were so strong, that to avoid speaking to persons to whom he was not well affected, he would actually increase his pace in the street to a run. At this time, his dark complexion was very ruddy and extremely animated. His abundant hair was in an admirable disorder. He was always laughing, when in good humor, which he for the most part was, as Neate saw him.

One day Neate spoke to him about the popularity of his Sonatas, Trios, etc., in England and added that his Septet was very much admired:—“That’s damned stuff” (or “a damned thing”), said Beethoven, “I wish it were burned!” or words to this effect, to Neate’s great discomfiture. Another time, walking in the fields near Baden, Neate spoke of the “Pastoral Symphony” and of Beethoven’s power of painting pictures in music. Beethoven said: “I have always a picture in my mind, when I am composing, and work up to it.”

Neate conversed with him in German and had no difficulty in making him understand, when speaking into his left ear. He brought to Beethoven an order from the Philharmonic Society of London—obtained by the exertions of Ries—for three concert overtures, of which we shall hear more hereafter.[152]

The destruction of Rasoumowsky’s palace suspended his quartets, and Linke, the violoncellist, passed the summer with the Erdödys at Jedlersee. This gave the impulse to Beethoven to write the principal works of this year: the two Sonatas for Pianoforte and Violoncello, Op. 102. The first bears his date: “Towards the end of July”; the second: “Beginning of August.” While he was employed upon them, Treitschke called upon him for a closing chorus, “Es ist vollbracht,” to a little dramatic piece similar to the “Gute Nachricht,” entitled “Die Ehrenpforten,” and prepared to celebrate the second capitulation of Paris. It was performed July 15, 16 and 23; and, on the occasion of the Emperor’s nameday, was revived “with appropriate changes” October 3rd and 4th; but (according to the theatre bills) with the chorus “Germania” substituted for “Es ist vollbracht.”

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