Beethoven’s Quartet of Instruments
Ludwig van Beethoven owned a complete quartet of excellent Italian instruments given to him by his princely patron and friend Lichnowsky at the suggestion of the famous quartet-player Schuppanzigh. I am in a position to describe each of the instruments in detail.1. A violin made by Joseph Guarnerius in Cremona in the year 1718 is now in the possession of Mr. Karl Holz, director of theConcerts spirituelsin Vienna.2. The second violin (which was offered for sale) was made by Nicholas Amati in the year 1667, and was in the possession of Dr. Ohmeyer, who died recently in Hütteldorf; it has been purchased by Mr. Huber.3. The viola, made by Vincenzo Ruger in 1690, is also the property of Mr. Karl Holz.4. The violoncello, an Andreas Guarnerius of the year 1712, is in the possession of Mr. P. Wertheimber of Vienna.The seal of Beethoven has been impressed under the neck of each instrument and on the back of each Beethoven scratched a big B, probably for the purpose of protecting himself against an exchange. The instruments are all well preserved and in good condition. The most valuable one, without question, is the violin by Joseph Guarnerius, which is distinguished by extraordinary power of tone, for which, indeed, Mr. Holz has refused an offer of 1000 florins.
Ludwig van Beethoven owned a complete quartet of excellent Italian instruments given to him by his princely patron and friend Lichnowsky at the suggestion of the famous quartet-player Schuppanzigh. I am in a position to describe each of the instruments in detail.
1. A violin made by Joseph Guarnerius in Cremona in the year 1718 is now in the possession of Mr. Karl Holz, director of theConcerts spirituelsin Vienna.
2. The second violin (which was offered for sale) was made by Nicholas Amati in the year 1667, and was in the possession of Dr. Ohmeyer, who died recently in Hütteldorf; it has been purchased by Mr. Huber.
3. The viola, made by Vincenzo Ruger in 1690, is also the property of Mr. Karl Holz.
4. The violoncello, an Andreas Guarnerius of the year 1712, is in the possession of Mr. P. Wertheimber of Vienna.
The seal of Beethoven has been impressed under the neck of each instrument and on the back of each Beethoven scratched a big B, probably for the purpose of protecting himself against an exchange. The instruments are all well preserved and in good condition. The most valuable one, without question, is the violin by Joseph Guarnerius, which is distinguished by extraordinary power of tone, for which, indeed, Mr. Holz has refused an offer of 1000 florins.
The four instruments were bought by Peter Th. Jokits in 1861, who gave them to the Royal Library at Berlin. Beethoven received them from Lichnowsky certainly before 1802, but in what year is unknown.[98]Another proof of the Prince’s regard and generosity, however, belongs to this, namely, an annuity of 600 florins to be continued until the composer should find some suitable permanent employment.
The only known publication of the year 1800 is the Rondo in G major, Op. 51, No. 2, which came from the press of Simrock. As for the compositions of the year it is safe to assume that Beethoven put the finishing touches to the first Symphony, the Septet, Op. 20, and the Quartets, Op. 18. Furthermore, there can be little doubt but that the Sonata for Horn, Op. 17, the Pianoforte Sonata, Op. 22, the Concerto in C minor, and the Variations for Four Hands on the melody of the song “Ich denke dein,” belong to this year. The “Variations très faciles” on an original theme in G were sketched and probably completed. The only chronological clues to the Horn Sonata are the date of its first performance, April 18, 1800, and the anecdote by Ries concerning the rapid completion of the work. No sketches have been found and nothing is known of the autograph; but according to Nottebohm the beginning of a clean copy of the Adagio is to be found among the sketches for the Sonatas Op. 22 and 23. Punto was still in Munich in 1800, and since the work seems assuredly to have been designed for him, there is equal certainty that it was composed in that year. It was published by Mollo in March, 1801. The Septet, for four strings and three wind-instruments, dedicatedto the Empress Maria Theresia, was played at the concert at which the Symphony in C major was brought forward, April 2, 1800; but it had been heard previously in the house of Prince Schwarzenberg. Inasmuch as sketches for it are found among those for the Quartets, specially the one in A major, which belong to the year 1799, its inception may be placed in that year, though it was probably finished in 1800 shortly before its performance. There is no date on the autograph. It was offered to Hoffmeister in the letter of December 15, 1800, and was published by him in 1802. The Septet speedily won great popularity and was frequently transcribed. Hoffmeister had an arrangement for string quintet which he advertised on August 18, 1802. Ries thought that Beethoven had made it, but he was in error; nevertheless, Beethoven gave Hoffmeister permission to publish an arrangement in which strings were substituted for the wind-instruments, and himself transcribed it as a pianoforte trio with violin or clarinetad lib. This arrangement was made as a tribute of gratitude from the composer to his new physician, Dr. Johann Schmidt. The doctor played the violin and his daughter the pianoforte, both fairly well, and Beethoven arranged his popular piece for family use and, as was customary at the time, gave Dr. Schmidt the exclusive possession of the music for a year.[99]
The theme of the minuet in the Septet was borrowed from the Pianoforte Sonata, Op. 49, No. 2, but its treatment is original. There has been considerable controversy without absolutely definitive result touching the melody which is varied in the Andante. Kretschmer, in his “Deutsche Volkslieder” (Berlin, 1838; Vol. I, No. 102, p. 181), prints the melody in connection with a Rhenish folksong (“Ach Schiffer, lieber Schiffer”), and there is a tradition that Czerny said that it was taken by Beethoven from that source. Nottebohm offers evidence deserving of consideration that the melody is a folktune; but Ries and Wegeler, who lived on the Rhine, had nothing to say on the subject. Erk and Böhme (“Deutscher Liederhort,” Vol. I, p. 273) publish folksongs dealing with the legend which is at the base of “Ach Schiffer, lieber Schiffer,” but the melody of the Andante is not to be found among them, and Böhme gives it as his opinion that the song printed by Kretschmer was written to Beethoven’s melody by Kretschmer’s collaborator Zuccalmaglio. It is not likely that the melody, had it lived in the mouths of the people, would have escaped so industrious a collector as Erk, who, moreover, was a native ofthe Rhine country. The evidence would seem to indicate that the melody was original with Beethoven.
Compositions Sketched in 1800
The Pianoforte Sonata in B-flat, Op. 22, also belongs to this year, as appears from the fact that it was offered to Hoffmeister in the letter of December 15. It was still in an unfinished state on the completion of the Sonata for Horn, as is shown by the circumstance that sketches of it are mingled with a fair transcript of a passage from the latter work. There are also sketches for Op. 22, among those for the Quartet in B-flat, Op. 18, No. 6, and the later movements of the Quartet in F—no doubt the revision. The sketches therefore belong to the year 1800, but may date back to 1799, from which it would appear that Beethoven worked an unusually long time on the Sonata. The principal labor was performed most likely in the summer of 1800, which Beethoven spent at Unterdöbling. It was published in 1802 by Hoffmeister and Kühnel. Sketches from the “Six Easy Variations” are found amongst some for the last movement of the Quartet in G, which seem to be nearly finished. Again we can fix the year as 1799 or 1800. Of special importance is the fact that the theme of the Variations is the same as the first episode of the rondo of the Sonata in B-flat, and the circumstance that the sketches are of almost the same date indicates that the identity was not accidental. The Variations were advertised as new by Traeg on December 16, 1800.
The Variations in D for four hands on the melody of Goethe’s poem, “Ich denke dein,” were conceived at practically the same time as those just described. Beethoven at first intended to give each stanza a separate setting, and to this end made two sketches, which are associated with the Quartet sketches and belong to the year 1799. He then took the melody of the first stanza as a theme for variations for four hands in the same year and wrote them into the autograph album of two sisters, the countesses Therese Brunswick and Josephine Deym. On September 22, 1803, he offered them to Hoffmeister in the place of the Trio Variations, Op. 44, with the remark that he considered them better than the latter. Hoffmeister, however, published the Trio Variations (in 1804). The Variations in D were not published until the beginning of 1805, and were described as having been written in 1800 for the two countesses mentioned, and dedicated to them.
An autograph preserved in the Royal Library in Berlin contains four of the variations on “Ich denke dein,” an Adagio in F major noted on four staves (three with treble, one with thebass clef), a Scherzo in G major, ¾ time, and an Allegro in G major, 2/4. Albert Kopfermann, who published the Adagio for the first time in No. 12, Vol. I, of “Die Musik,” considers, no doubt correctly, that the three compositions were written for an automatic musical instrument. Though the number of new compositions produced in 1800 was small, attention must be directed to the fact that the revision and completion of works for publication, together with the planning of new works, gave a deal of occupation to Beethoven. Amongst the compositions made ready for the printer were the Quartets, which were not ready till near the end of the year. To them must be added the Sonata in E-flat, Op. 27, No. 1, and the Concerto in C minor, the autograph of which distinctly bears the date 1800. It is certain, moreover, that Beethoven began working on “Prometheus” in this year, and the summer must have been a busy one for him.
The Year 1801—Concerts for Wounded Soldiers—Vigano and the Ballet “Prometheus”—Stephan von Breuning—Hetzendorf—“Christus am Ölberg”—Compositions and Publications of the Year—The Funeral March in the Sonata, Op. 26—The “Moonlight” Sonata—The Quintet, Op. 29.
The Year 1801—Concerts for Wounded Soldiers—Vigano and the Ballet “Prometheus”—Stephan von Breuning—Hetzendorf—“Christus am Ölberg”—Compositions and Publications of the Year—The Funeral March in the Sonata, Op. 26—The “Moonlight” Sonata—The Quintet, Op. 29.
The tone of Beethoven’s correspondence and the many proofs of his untiring industry during the winter 1800-1 and early part of the succeeding spring, suggest a mind at ease, rejoicing in the exercise of its powers, and a body glowing with vigorous health. But for his own words to Wegeler: “I have been really miserable this winter,” the passing allusions to ill health in his replies to Hoffmeister’s letters would merely impress the reader as being half-groundless apologies for lack of punctuality in writing. This chapter will exhibit the young master both as he appeared to the public and as he showed himself in confidential intercourse to the few in whose presence he put aside the mask and laid open his heart; and will, therefore, it is believed, be found fully to justify what has been said of his heroic energy, courage and endurance under a trouble of no ordinary nature.
In the beginning of the year he wrote to Hoffmeister[100]as follows under date “January 15 (or thereabouts), 1801”:
... Your enterprises delight me also and I wish that if works of art ever bring profit that it might go to real artists instead of mere shopkeepers.The fact that you purpose to publish the works ofSebastian Bachdoes good to my heart which beats only for the lofty and magnificent art of this patriarch of harmony, and I hope soon to see them in vigorous sale. I hope, as soon as golden peace has been declared, to be helpful in many ways, especially if you offer the works for subscription.As regards our real business, since you ask it I meet your wishes by offering you the following items: Septet (concerning which I have already written you), 20 ducats; Symphony, 20 ducats; Grand Solo Sonata—Allegro, Adagio, Minuetto, Rondo—20 ducats. This Sonata is a tidy piece of work (hat sich gewaschen), my dearest Mr. Brother.Now for an explanation: You will wonder, perhaps, that I have made no distinction here between Sonata, Septet and Symphony. I have done this because I have learned that a septet or symphony has a smaller sale than a sonata, though a symphony ought unquestionably to be worth more. (N. B. The Septet consists of a short introductoryAdagio, thenAllegro,Adagio,Minuetto,Andantewith variations,Minuettoagain, a shortAdagiointroduction and thenPresto.) I put the price of the Concerto at only 10 ducats because, as I have already written, I do not give it out as one of my best. I do not think the amount excessive on the whole; I have tried, at least, to make the price as moderate as possible for you. As regards the bill of exchange you may, since you leave the matter to me, issue it to Geimüller or Schüller. The whole sum amounts to 70 ducats for the four works. I do not understand any money except Viennese ducats; how many thalers in gold that amounts to does not concern me, I being a really bad negotiator and mathematician.This disposes of the disagreeable (saure) business; I call it so because I wish things were different in the world. There ought to be only one art warehouse in the world to which an artist would only need to carry his art-works to take away with him whatever he needed; as it is one must be half tradesman; and how we adjust ourselves—good God!—that is what I again call disagreeable. As regards the L... O...,[101]let them talk; they will certainly never make anybody immortal by their twaddle, and as little will they rob anybody of immortality to whom Apollo has decreed it.
... Your enterprises delight me also and I wish that if works of art ever bring profit that it might go to real artists instead of mere shopkeepers.
The fact that you purpose to publish the works ofSebastian Bachdoes good to my heart which beats only for the lofty and magnificent art of this patriarch of harmony, and I hope soon to see them in vigorous sale. I hope, as soon as golden peace has been declared, to be helpful in many ways, especially if you offer the works for subscription.
As regards our real business, since you ask it I meet your wishes by offering you the following items: Septet (concerning which I have already written you), 20 ducats; Symphony, 20 ducats; Grand Solo Sonata—Allegro, Adagio, Minuetto, Rondo—20 ducats. This Sonata is a tidy piece of work (hat sich gewaschen), my dearest Mr. Brother.
Now for an explanation: You will wonder, perhaps, that I have made no distinction here between Sonata, Septet and Symphony. I have done this because I have learned that a septet or symphony has a smaller sale than a sonata, though a symphony ought unquestionably to be worth more. (N. B. The Septet consists of a short introductoryAdagio, thenAllegro,Adagio,Minuetto,Andantewith variations,Minuettoagain, a shortAdagiointroduction and thenPresto.) I put the price of the Concerto at only 10 ducats because, as I have already written, I do not give it out as one of my best. I do not think the amount excessive on the whole; I have tried, at least, to make the price as moderate as possible for you. As regards the bill of exchange you may, since you leave the matter to me, issue it to Geimüller or Schüller. The whole sum amounts to 70 ducats for the four works. I do not understand any money except Viennese ducats; how many thalers in gold that amounts to does not concern me, I being a really bad negotiator and mathematician.
This disposes of the disagreeable (saure) business; I call it so because I wish things were different in the world. There ought to be only one art warehouse in the world to which an artist would only need to carry his art-works to take away with him whatever he needed; as it is one must be half tradesman; and how we adjust ourselves—good God!—that is what I again call disagreeable. As regards the L... O...,[101]let them talk; they will certainly never make anybody immortal by their twaddle, and as little will they rob anybody of immortality to whom Apollo has decreed it.
Benefit Concerts for Wounded Soldiers
The next letter requires a word of introduction. That military campaign which included the disastrous field of Hohenlinden (December 3, 1800), had filled the hospitals at Vienna, and among the various means of raising funds for the benefit of the wounded, was a series of public concerts. The two in which they reached their climax took place in the large Ridotto room (Redouten-Saal) of the imperial palace. The one arranged by Baron von Braun as Director of the Court Opera, was a performance of Haydn’s “Creation” conducted by the composer, on January 16th; the other was arranged by Mme. Frank (Christine Gerhardi) for January 30th. That lady, Mme. Galvani (Magdalena Willmann) and Herr Simoni were the singers, Beethoven and Punto the instrumental solo performers; Haydn directed two of his own symphonies, Paër and Conti directed the orchestra in the accompaniments to the vocal music. In the first public announcement printed in the “Wiener Zeitung” the only artist mentioned was“the famous amateur singer Frau von Frank,néeGerhardi,” as the giver of the concert. This called out from Beethoven the following letter:
Pour Madame de Frank.I think it my duty, best of women, to ask you not to permit your husband again in the second announcement of our concert to forget that those who contribute their talents to the same also be made known to the public. This is the custom, and I do not see if it is not done what is to increase the attendance at the concert, which is its chief aim. Punto is not a little wrought up about the matter, and he is right, and it was my intention even before I saw him to remind you of what must have been the result of great haste or great forgetfulness. Look after this, best of women, since if it is not done dissatisfaction will surely result.Having been convinced, not only by myself but by others as well, that I am not a useless factor in this concert, I know that not only I but Punto, Simoni, Galvani will ask that the public be informed also of our zeal for the philanthropic purposes of this concert; otherwise we must all conclude that we are useless.Wholly yoursL. v. Bthvn.
Pour Madame de Frank.
I think it my duty, best of women, to ask you not to permit your husband again in the second announcement of our concert to forget that those who contribute their talents to the same also be made known to the public. This is the custom, and I do not see if it is not done what is to increase the attendance at the concert, which is its chief aim. Punto is not a little wrought up about the matter, and he is right, and it was my intention even before I saw him to remind you of what must have been the result of great haste or great forgetfulness. Look after this, best of women, since if it is not done dissatisfaction will surely result.
Having been convinced, not only by myself but by others as well, that I am not a useless factor in this concert, I know that not only I but Punto, Simoni, Galvani will ask that the public be informed also of our zeal for the philanthropic purposes of this concert; otherwise we must all conclude that we are useless.
Wholly yoursL. v. Bthvn.
Whether this sharp remonstrance produced the desired effect cannot now be ascertained, but the original advertisement was repeated in the newspaper on the 24th and 28thverbatim.
In the state of affairs then existing it was no time to give public concerts for private emolument; moreover, a quarrel with the orchestra a year before might have prevented Beethoven from obtaining the Burgtheater again, and the new Theater-an-der-Wien was not yet ready for occupation; but there is still another adequate reason for his giving noAkademie(concert) this spring. He had been engaged to compose an important work for the court stage.
Vigano and the Prometheus Ballet
Salvatore Vigano, dancer and composer of ballets, both action and music, the son of a Milanese of the same profession, was born at Naples, March 29, 1769. He began his career at Rome, taking female parts because women were not allowed there to appear upon the stage. He then had engagements successively at Madrid—where he married Maria Medina, a celebrated Spanish danseuse—Bordeaux, London and Venice, in which last city, in 1791, he composed his “Raoul, Sire de Croqui.” Thence he came to Vienna, where he and his wife first appeared in May, 1793. His “Raoul” was produced on June 25th at the Kärnthnerthor-Theater. After two years of service here he accepted engagements in five continental cities and returned to Vienna again in 1799. The second wife of Emperor Franz, Maria Theresia, was a woman ofmuch and true musical taste and culture, and Vigano determined to compliment her in a ballet composed expressly for that purpose. Haydn’s gloriously successful “Creation” may, perhaps, have had an influence in the choice of a subject, “The Men of Prometheus,” and the dedication of Beethoven’s Septet to the Empress may have had its effect in the choice of a composer. At all events, the work was entrusted to Beethoven.
If the manner in which this work has been neglected by Beethoven’s biographers and critics may be taken as a criterion, an opinion prevails that it was not worthy of him in subject, execution or success. It seems to be forgotten that as an orchestral composer he was then known only by two or three pianoforte concertos and his first Symphony—a work which by no means rivals the greater production of Mozart and Haydn—and that for the stage he was not known to have written anything. There is a misconception, too, as to the position which the ballet just then held in the Court Theatre. As a matter of fact it stood higher than ever before and, perhaps, than it has ever stood since. Vigano was a man of real genius and had wrought a reform which is clearly, vigorously and compendiously described in a memoir of Heinrich von Collin, from which we quote:
In the reign of Leopold II the ballet, which had become a well-attended entertainment in Vienna through the efforts of Noverre, was restored to the stage. Popular interest turned at once to them again, and this was intensified in a great degree when, beside the ballet-master Muzarelli, a second ballet-master, Mr. Salvatore Vigano, whose wife disclosed to the eyes of the spectators a thitherto unsuspected art, also gave entertainments. The most important affairs of state are scarcely able to create a greater war of feeling than was brought about at the time by the rivalry of the two ballet-masters. Theatre-lovers without exception divided themselves into two parties who looked upon each other with hatred and contempt because of a difference of conviction.... The new ballet-master owed his extraordinary triumph over his older rival to his restoration of his art back from the exaggerated, inexpressive artificialities of the old Italian ballet to the simple forms of nature. Of course, there was something startling in seeing a form of drama with which thitherto there had been associated only leaps, contortions, constrained positions, and complicated dances which left behind them no feeling of unity, suddenly succeeded by dramatic action, depth of feeling, and plastic beauty of representation as they were so magnificently developed in the earlier ballets of Mr. Salvatore Vigano, opening, as they did, a new realm of beauty. And though it may be true that it was especially the natural, joyous, unconstrained dancing of Madame Vigano and her play of features, as expressive as it was fascinating, which provoked the applause of the many, it is nevertheless true that the very subject-matter of the ballets, which differentiate themselvesvery favorably from his later conceits, and his then wholly classical, skilful and manly dancing, were well calculated to inspire admiration and respect for the master and his creations.
In the reign of Leopold II the ballet, which had become a well-attended entertainment in Vienna through the efforts of Noverre, was restored to the stage. Popular interest turned at once to them again, and this was intensified in a great degree when, beside the ballet-master Muzarelli, a second ballet-master, Mr. Salvatore Vigano, whose wife disclosed to the eyes of the spectators a thitherto unsuspected art, also gave entertainments. The most important affairs of state are scarcely able to create a greater war of feeling than was brought about at the time by the rivalry of the two ballet-masters. Theatre-lovers without exception divided themselves into two parties who looked upon each other with hatred and contempt because of a difference of conviction.... The new ballet-master owed his extraordinary triumph over his older rival to his restoration of his art back from the exaggerated, inexpressive artificialities of the old Italian ballet to the simple forms of nature. Of course, there was something startling in seeing a form of drama with which thitherto there had been associated only leaps, contortions, constrained positions, and complicated dances which left behind them no feeling of unity, suddenly succeeded by dramatic action, depth of feeling, and plastic beauty of representation as they were so magnificently developed in the earlier ballets of Mr. Salvatore Vigano, opening, as they did, a new realm of beauty. And though it may be true that it was especially the natural, joyous, unconstrained dancing of Madame Vigano and her play of features, as expressive as it was fascinating, which provoked the applause of the many, it is nevertheless true that the very subject-matter of the ballets, which differentiate themselvesvery favorably from his later conceits, and his then wholly classical, skilful and manly dancing, were well calculated to inspire admiration and respect for the master and his creations.
Two or three pages might be compiled of spicy matter upon the beautiful Mme. Vigano’s lavish display of the Venus-like graces and charms of her exquisite form; but her name, long before the “Prometheus” ballet, had disappeared from the roll of the theatre and Fräulein Cassentini reigned in her stead. There was nothing derogatory to Beethoven in his acceptance of the commission to compose the music to a ballet by Vigano; but by whom commissioned, upon what terms, and when—concerning these and similar particulars, we know nothing. We only know, that at the close of the season before Easter, on the 28th of March, “Die Geschöpfe des Prometheus” was performed for the first time for the benefit of the prima ballerina of the ballet corps, Fräulein Cassentini, and that the whole number of its performances this year was sixteen, and in 1802 thirteen. The pecuniary result to Beethoven must therefore have been satisfactory. True, the full score did not appear in print in Beethoven’s lifetime or for a long time thereafter; it was not published, indeed, until the appearance of the critical Complete Edition, in which it figures as No. 11 of Series II; nothing is known of the original manuscript. A copy revised except as to two numbers, is in the Royal Imperial Court Library at Vienna. A pianoforte arrangement of the score was published in June, 1801, by Artaria with the opus number 24 and a dedication to Prince Lichnowsky. Hoffmeister printed the orchestral parts and a pianoforte score in 1804 as Op. 43 (the number 24 having meanwhile been assigned to the Violin Sonata in F). Mention ought, perhaps, also to be made of a pianoforte arrangement of No. 8 for four hands “composé pour la famille Kobler par Louis van Beethoven. Cette pièce se trouve aussi à gr. Orchestre dans le même Magazin.” The Kobler family was frequently in Vienna, among other times in 1814; it had nothing to do with the “Prometheus” music.
Alois Fuchs has preserved a characteristic anecdote which came to him “from the worthy hand of a contemporary”:
When Beethoven had composed the music to the ballet “Die Geschöpfe des Prometheus” in 1801, he was one day met by his former teacher, the great Joseph Haydn, who stopped him at once and said: “Well, I heard your ballet yesterday and it pleased me very much!” Beethoven replied: “O, dear Papa, you are very kind; but it is far from being a ‘Creation!’” Haydn, surprised at the answer and almost offended, said after a short pause: “That is true; it is not yet a ‘Creation’ and Ican scarcely believe that it will ever become one.” Whereupon the men said their adieus, both somewhat embarrassed.
When Beethoven had composed the music to the ballet “Die Geschöpfe des Prometheus” in 1801, he was one day met by his former teacher, the great Joseph Haydn, who stopped him at once and said: “Well, I heard your ballet yesterday and it pleased me very much!” Beethoven replied: “O, dear Papa, you are very kind; but it is far from being a ‘Creation!’” Haydn, surprised at the answer and almost offended, said after a short pause: “That is true; it is not yet a ‘Creation’ and Ican scarcely believe that it will ever become one.” Whereupon the men said their adieus, both somewhat embarrassed.
From the period immediately following we have another letter from Beethoven to Hoffmeister, dated April 22, 1801, in which he says:
Perhaps, too, it is the only sign of genius about me that my things are not always in the best of order, and nobody can mend the matter except myself. Thus, for instance, the pianoforte part, as is usual with me, was not written out in score and I only now have made a fair copy of it so that because of your haste you might not receive my too illegible manuscript. So that the works may appear in the proper sequence as far as possible I inform you that the following opus numbers ought to be placed on the compositions:On the Solo SonataOpus 22On the Symphony„21On the Septet„20On the Concerto„19The titles I will send you soon.Set me down as a subscriber for the works of Johann Sebastian Bach, also Prince Lichnowsky. The transcription of the Mozart sonata (or sonatas) as quartets and quintets will do you honor and certainly prove remunerative. In this also I should like to be of greater service, but I am a disorderly individual and with the best of intentions I am continually forgetting everything; yet I have spoken about the matter here and there, and everywhere have found inclination towards it. It would be a handsome thing if Mr. Brother besides doing this were to publish an arrangement of the Septet for flute, as quintet, for example; by this means the amateur flautists, who have already approached me on the subject, would be helped and they would swarm around it like hungry insects. To say something about myself, I have just written a ballet in which the ballet-master did not do as well as he might have done. Baron von Liechtenstein has endowed us with a product not commensurate with the ideas which the newspapers have spread touching his genius; another bit of evidence against the newspapers. The Baron seems to have formed his ideal on Herr Müller in the marionette show, without, however, having attained it.These are the beautiful prospects under which we poor fellows in Vienna are expected to flourish....
Perhaps, too, it is the only sign of genius about me that my things are not always in the best of order, and nobody can mend the matter except myself. Thus, for instance, the pianoforte part, as is usual with me, was not written out in score and I only now have made a fair copy of it so that because of your haste you might not receive my too illegible manuscript. So that the works may appear in the proper sequence as far as possible I inform you that the following opus numbers ought to be placed on the compositions:
On the Solo SonataOpus 22On the Symphony„21On the Septet„20On the Concerto„19
The titles I will send you soon.
Set me down as a subscriber for the works of Johann Sebastian Bach, also Prince Lichnowsky. The transcription of the Mozart sonata (or sonatas) as quartets and quintets will do you honor and certainly prove remunerative. In this also I should like to be of greater service, but I am a disorderly individual and with the best of intentions I am continually forgetting everything; yet I have spoken about the matter here and there, and everywhere have found inclination towards it. It would be a handsome thing if Mr. Brother besides doing this were to publish an arrangement of the Septet for flute, as quintet, for example; by this means the amateur flautists, who have already approached me on the subject, would be helped and they would swarm around it like hungry insects. To say something about myself, I have just written a ballet in which the ballet-master did not do as well as he might have done. Baron von Liechtenstein has endowed us with a product not commensurate with the ideas which the newspapers have spread touching his genius; another bit of evidence against the newspapers. The Baron seems to have formed his ideal on Herr Müller in the marionette show, without, however, having attained it.
These are the beautiful prospects under which we poor fellows in Vienna are expected to flourish....
Under the same date Beethoven wrote to Breitkopf and Härtel:
Advice to the Critics of Leipsic
... As regards your request for compositions by me I regret that at this time I am unable to oblige you; but please tell me what kind of compositions of mine you want, viz., symphonies, quartets, sonatas, etc., so that I may govern myself accordingly, and in case I have what you need or want I may place it at your service. If I am right, 8 works of mine are about to appear at Mollo’s in this place; four pieces at Hofmeister’s in Leipsic; in this connection I wish to add thatone of my firstconcertos[102]and therefore not one ofthe best of my compositions, is to be published by Hofmeister, and that Mollo is to publish a Concerto which, indeed, was written later[103]but nevertheless does not rank among the best of my works in this form. This is only a hint for your musical journal in the matter of criticism of these works, although if one might hear them (well-played, that is), one would best be able to judge them. Musical policy requires that one should keep possession for a space of the best concertos. You should recommend to Messrs. your critics great care and wisdom especially in the case of the products of younger authors; many a one may be frightened off who otherwise might, probably, accomplish more; so far as I am concerned I am far from thinking that I am so perfect as not to be subject to blame, yet the howls of your critics against me were at first so humiliating that after comparing myself with others I could not get angry, but remained perfectly quiet, and concluded they did not understand their business; it was the easier to remain quiet since I saw the praise lavished on people who have no significance in loco in the eyes of the better sort, and who disappeared from sight here no matter how good they may otherwise have been—butpax vobiscum—peace for me and them—I would not have mentioned a syllable about the matter had not you yourself done so.Coming recently to a friend who showed me the amount which had been collectedfor the daughter of the immortal god of harmony, I marvel at the smallness of the sum which Germany, especiallyyour Germany, had contributed in recognition of the individual who seems to me worthy of respect for her father’s sake, which brings me to the thought how would it do if I were to publish a work for the benefit of this person by subscription, acquaint the public each year with the amount and its proceeds in order to assure her against possible misfortune. Write me quickly how this might best be accomplished so that something may be done beforethis Bachdies, before this brook[104]dries up and we be no longer able to supply it with water. That you would publish the work is self-evident.
... As regards your request for compositions by me I regret that at this time I am unable to oblige you; but please tell me what kind of compositions of mine you want, viz., symphonies, quartets, sonatas, etc., so that I may govern myself accordingly, and in case I have what you need or want I may place it at your service. If I am right, 8 works of mine are about to appear at Mollo’s in this place; four pieces at Hofmeister’s in Leipsic; in this connection I wish to add thatone of my firstconcertos[102]and therefore not one ofthe best of my compositions, is to be published by Hofmeister, and that Mollo is to publish a Concerto which, indeed, was written later[103]but nevertheless does not rank among the best of my works in this form. This is only a hint for your musical journal in the matter of criticism of these works, although if one might hear them (well-played, that is), one would best be able to judge them. Musical policy requires that one should keep possession for a space of the best concertos. You should recommend to Messrs. your critics great care and wisdom especially in the case of the products of younger authors; many a one may be frightened off who otherwise might, probably, accomplish more; so far as I am concerned I am far from thinking that I am so perfect as not to be subject to blame, yet the howls of your critics against me were at first so humiliating that after comparing myself with others I could not get angry, but remained perfectly quiet, and concluded they did not understand their business; it was the easier to remain quiet since I saw the praise lavished on people who have no significance in loco in the eyes of the better sort, and who disappeared from sight here no matter how good they may otherwise have been—butpax vobiscum—peace for me and them—I would not have mentioned a syllable about the matter had not you yourself done so.
Coming recently to a friend who showed me the amount which had been collectedfor the daughter of the immortal god of harmony, I marvel at the smallness of the sum which Germany, especiallyyour Germany, had contributed in recognition of the individual who seems to me worthy of respect for her father’s sake, which brings me to the thought how would it do if I were to publish a work for the benefit of this person by subscription, acquaint the public each year with the amount and its proceeds in order to assure her against possible misfortune. Write me quickly how this might best be accomplished so that something may be done beforethis Bachdies, before this brook[104]dries up and we be no longer able to supply it with water. That you would publish the work is self-evident.
Poor Maximilian’s health having become precarious, the welfare of the Teutonic Order in those revolutionary times demanded that a wise and energetic successor to him as Grand Master should be secured in the person of an efficient coadjutor. The thoughts of all parties concerned fixed upon a man who was then not even a member of the order, in case he would join it and accept the position, namely, the famous Archduke Karl. A Grand Chapter was therefore called at Vienna, which opened June 1st, and which unanimously admitted him to membership, he receiving a dispensation from taking the oaths for the time being. OnJune 3rd, he was elected coadjutor and on the 11th he received the accolade. The circular which called the meeting brought to the Austrian capital the whole body of officials employed at Mergentheim, and thus it happened that Stephan von Breuning, whose name appears in the Calendar of the order from 1797 to 1803, inclusive, asHofrathsassessor, came again to Vienna and renewed intimate personal intercourse with Beethoven. Another of our old Bonn acquaintances had also recently come thither, he of whom (in the opinion of the present writer) Beethoven writes to Amenda: “Now to my comfort a man has come again”—namely, Anton Reicha. In the spring of this year Beethoven removed from the Tiefer Graben into rooms overlooking one of the bastions—there is little if any doubt, the Wasserkunstbastei—and in one of those houses the main entrances to which are in the Sailerstätte. At a later period of his life he came thither again, and with good reason; for those houses not only afforded a beautiful view over the Glacis and the Landsstrasse suburb, but plenty of sun and fresh air. In the Hamberger house, where now stands No. 15, he had often gone with his exercises to Joseph Haydn, and hard by lived his friend Anton von Türkheim, Royal ImperialTruchsess—that is, carver.
This year he chose Hetzendorf for his summer retreat. Those who know well the environs of Vienna, are aware that this village offers less attraction to the lover of nature than a hundred others within easy distance of the city. There is nothing to invite one, who is fond of the solitude of the forest, but the thick groves in the garden of Schönbrunn some ten minutes’ walk distant. It is certainly possible that Beethoven’s state of health may have forbidden him to indulge his taste for long rambles, and that the cool shades of Schönbrunn, so easily and at all times accessible, may have determined his choice. It would be pleasant to believe, though there is no evidence to support such a belief, that some feeling of regard for his former patron Maximilian, who had sought retirement at Hetzendorf, was one of the causes which induced the composer to spend this summer there.
Oratorio: “The Mount of Olives”
That was a period at Vienna fruitful in short sacred cantatas. On certain days in the spring and late autumn no theatrical performances were allowed and the principal composers embraced the opportunity to exhibit their skill and invention in this branch of their art; sometimes in concerts for their own benefit, more commonly in those for public charities. Haydn, Salieri, Winter, Süssmayr, Paër, are names that will occur in this connection to every student of Vienna’s musical annals. Beethoven, ever ready tocompete with the greatest talent in at least one work, and desirous of producing at his next concert the novelty of an extensive vocal composition by himself, determined to compose a work of this class. The subject chosen was “Christus am Ölberg.”[105]Its composition was the grand labor of this summer. “The text was written by me in collaboration with the poet within 14 days,” writes Beethoven in one of his letters, “but the poet was musical and had already written many things for music; I was able to consult with him at any moment.” This poet was Franz Xaver Huber, fertile writer in general literature and a popular author for the Vienna stage, who occupied so high a place in public esteem, that his consent to prepare the text of the “Christus” is another indication of the high reputation of Beethoven. The merits and demerits of the poem need not be expatiated upon; Beethoven’s own words show that he was in part responsible for them. Schindler says:
Beethoven also lived in Hetzendorf in 1805 and composed his “Fidelio.” A coincidence touching the two works, one that remained in the lively memory of Beethoven for many years, was that he composed both of them in the thicket of the forest in the Schönbrunner Hofgarten, sitting on the hill between two oaks which branched out from the trunk about two feet from the ground. This oak, which always remained remarkable in his eyes (it is to the left of the Gloriet), I found again with Beethoven as late as 1823, and it awakened in him interesting memories of the early period.
Beethoven also lived in Hetzendorf in 1805 and composed his “Fidelio.” A coincidence touching the two works, one that remained in the lively memory of Beethoven for many years, was that he composed both of them in the thicket of the forest in the Schönbrunner Hofgarten, sitting on the hill between two oaks which branched out from the trunk about two feet from the ground. This oak, which always remained remarkable in his eyes (it is to the left of the Gloriet), I found again with Beethoven as late as 1823, and it awakened in him interesting memories of the early period.
So far as has been determined, the compositions completed in 1801 were the Sonatas for Pianoforte and Violin, Op. 23 and 24; the Pianoforte Sonatas in A-flat, Op. 26, E-flat, Op. 27, No. 1, and C-sharp minor, Op. 27, No. 2, and D major, Op. 28; and the Quintet in C major, Op. 29. “The Andante in D minor of the Sonata, Op. 28,” says Czerny, “was long his favorite and he played it often for his own pleasure.” The twelve Contradances and six Rustic Dances (Ländler) are sketched in part on the first staves of the Kessler sketchbook. If we are justified in assuming that they were composed for the balls of the succeeding winter and were played from manuscript, it would follow that they also are to be counted among the compositions completed in this year.
Publications of the Year 1801
The published works were the Concerto for Pianoforte and Orchestra, Op. 15, dedicated “À son Altesse Madame la PrincesseOdescalchi née Keglevics”; the Sonata for Pianoforte and Horn, Op. 17, dedicated “À Madame la Baronne de Braun”; the Quintet for Pianoforte, Oboe, Clarinet, Horn and Bassoon, Op. 16, dedicated “À son Altesse Monseigneur le Prince Régnant de Schwarzenberg.” These three works were announced by Mollo and Co. on March 21. Furthermore, the music to “Prometheus,” arranged for Pianoforte (according to Czerny by the composer) and dedicated “A sua Altezza la Signora Principessa Lichnowsky, nata Contessa Thun,” published in June by Artaria as Op. 27; “6 Variations très faciles” on an original theme in G, announced by Johann Traeg as absolutely new on August 11, sketched in the preceding year but probably completed in this; the Sonatas, Op. 23 and 24, dedicated “À Monsieur le Comte Maurice de Fries,” announced on October 28; the six Quartets, Op. 18, dedicated “À son Altesse Monseigneur le Prince Régnant de Lobkowitz,” announced (second series) on October 28 by Mollo. The Pianoforte Concerto in B-flat, Op. 19, dedicated “À Monsieur Charles Nikl Noble de Nikelsberg,” and the Symphony in C, Op. 21, dedicated “À son Excellence Monsieur le Baron van Swieten,” were published by Hoffmeister and Kühnel of Leipsic certainly before the end of the year, since they reached Vienna on January 16, and were advertised there. An earlier Leipsic edition has not been found. The two Violin Sonatas in A minor and F major were dedicated to Count Moritz von Fries and were originally intended to be coupled in a single opus number (23), as appears from the preliminary announcement by Mollo in the “Wiener Zeitung” of October 28, 1801, and also by the designation of the second as “No. 2,” on a copy of Op 24. Sketches of the two found in the Petters sketchbook are evidence of their simultaneous origin.
The Pianoforte Sonata, Op. 26, had its origin, according to Nottebohm’s study of the sketches, in the year 1800; but Shedlock (in the “Musical Times” of August, 1892) prints a few beginnings of the first movement in B minor (!) which probably date farther back, perhaps to the Bonn period. A young composer,[106]Ferdinand Paër (born at Parma in 1771), since the beginning of 1798 had produced on the court stage a series of pleasing and popular works. Laboring in a sphere so totally different from that of Beethoven, there was no rivalry between them and their relations were cordial and friendly. On June 6th of this summer Paër brought out a heroic opera, “Achilles,” which “was receivedwith a storm of approval and deserved it,” says the correspondent of the “Zeitung für die Elegante Welt.” Paër in his old age told Ferdinand Hiller a characteristic anecdote of Beethoven which cannot possibly be true in connection with his “Leonore,” as he, by a lapse of memory, related it, but is, undoubtedly, in connection with “Achilles.” It was to the effect that Beethoven went with Paër to the theatre where an opera by the latter was performing. He sat beside him and after he had time and again cried out, “Ah, que c’est beau, que c’est intéressant!” had finally said: “Il faut que je compose cela.” The correspondent just cited complains of the “want of character” in the marches in “Achilles” and incidentally confirms one of Ries’s “Notizen”: “The funeral march in A-flat minor in the Sonata dedicated to Prince Lichnowsky (Op. 26) was the result of the great praise with which the funeral march in Paër’s ‘Achilles’ was received by Beethoven’s friends.” Of that Sonata, completed this year, Czerny says: “When Cramer was in Vienna and was creating a great sensation not only by his playing but also by the three sonatas which he dedicated to Haydn (of which the first in A-flat, ¾ time, awakened great amazement), Beethoven, who had been pitted against Cramer, wrote the A-flat Sonata, Op. 26, in which there is purposely a reminder of the Clementi-Cramer passage-work in the Finale. TheMarcia funebrewas composed on the impulsion of a very much admired funeral march of Paër’s, and added to the Sonata.”
Whether or not this funeral march was really occasioned by Paër’s “Achilles” or one from another opera by Paër (since “Achilles” was performed for the first time in 1801, and the older first sketches already contemplated a “pezzo caracteristico p. e. una marcia in as moll”), is of subordinate interest, since the legend has nothing whatever to do with reminiscences, but only with its tremendous superiority to the music by Paër.
The enigmatic “Sonata pour M.” in the sketches for this sonata no doubt means “for Mollo” simply. The splendid print infacsimile, published by Erich Praeger from the autograph discovered by him, gives information concerning the sketches and also concerning the legends which refer to the origin of the different movements.
The enigmatic “Sonata pour M.” in the sketches for this sonata no doubt means “for Mollo” simply. The splendid print infacsimile, published by Erich Praeger from the autograph discovered by him, gives information concerning the sketches and also concerning the legends which refer to the origin of the different movements.
The C-Sharp Minor Sonata
Of the two Pianoforte Sonatas, Op. 27, the first (in E-flat) was dedicated to the Princess Johanna von Liechtenstein,néethe Landgravine Fürstenberg, the second to Countess Giulietta Guicciardi. It is apparent, therefore, that they appeared separately at first. Sketches of the first show that they originated in 1801.Both are designated “quasi fantasia,” which plainly indicates a departure from the customary structure. The C-sharp minor Sonata, Op. 27, No. 2, was dedicated to the Countess Giulietta Guicciardi, who at this time (1801-1802) was Beethoven’s pupil and indubitably must be counted amongst the ladies who, for a time at least, were near to his heart. Concerning this, later. As his relationship to the Countess has been exaggerated, so also more significance has been attached to this sonata than is justified from a sober point of view. Beethoven himself was vexed that more importance was attached to it than to other sonatas which he held in higher esteem (Op. 78, for instance), simply because it had become popular. Its popularity was subsequently heightened by the designations “Arbor Sonata” and “Moonlight Sonata” and its creation into a sort of love-song without words, especially after Schindler had identified the Countess Guicciardi with the “Immortal Beloved” of the famous love-letter. It was a long time before attention was paid to a letter written by Dr. G. L. Grosheim, to Beethoven, dated November 10, 1819, in which occur the words: “You wrote me that at Seume’s grave (in Teplitz) you had placed yourself among his admirers.... It is a desire which I cannot suppress, that you, Mr. Chapelmaster, would give to the world your wedding with Seume—I mean your Fantasia in C-sharp minor and the ‘Beterin’.”[107]
The autograph of the Sonata in D, Op. 28, bears the inscription “Gran Sonata, Op. 28, 1801, da L. van Beethoven.” Itappeared in print in 1802, having been advertised in the “Wiener Zeitung” of August 14, from theIndustriekontor, with the dedication, “À Monsieur Joseph Noble de Sonnenfels, Conseiller aulique et Sécrétaire perpétuel de l’Académie des Beaux Arts.” Touching the personality of Joseph Noble de Sonnenfels something may be learned from W. Nagel’s book, “Beethoven und seine Klaviersonaten,” and also from Willibald Müller’s biography of him. At the time, Sonnenfels was nearly 70 years old and, so far as is known, was not an intimate friend of Beethoven’s; the dedication was probably nothing more than a mark of respect for the man of brains with whose ideas Beethoven was in sympathy. The single clue as to the origin of the work is the date (1801) on the autograph; sketches seem to be lacking. The sunny disposition of the music is the only evidence, and this is internal. The work early acquired the sobriquet “Sonata pastorale” (it was first printed by A. Cranz), and the designation is not inept.
The String Quintet in C, Op. 29
The String Quintet, Op. 29, as is evidenced by an inscription on the score, was composed in 1801 and published by Breitkopf and Härtel in 1802, towards the close of the year. Simultaneously it appeared from the press of Artaria. This second edition has a history. According to Ries the Quintet
was stolen in Vienna and published by A. (Artaria) and Co. Having been copied in a single night, it was full of errors.... Beethoven’s conduct in the matter is without parallel. He asked A. to send the fifty copies which had been printed to me for correction, but at the same time instructed me to use ink on the wretched paper and as coarsely as possible; also to cross out several lines so that it would be impossible to make use of a single copy or sell it. The scratching out was particularly in the Scherzo. I obeyed his instructions implicitly, etc.
was stolen in Vienna and published by A. (Artaria) and Co. Having been copied in a single night, it was full of errors.... Beethoven’s conduct in the matter is without parallel. He asked A. to send the fifty copies which had been printed to me for correction, but at the same time instructed me to use ink on the wretched paper and as coarsely as possible; also to cross out several lines so that it would be impossible to make use of a single copy or sell it. The scratching out was particularly in the Scherzo. I obeyed his instructions implicitly, etc.
Nottebohm has proved that the further statements of Ries touching the melting of the plates, etc., are wrong; but the enraged composer did make a public statement—and very properly:
To the Lovers of Music.In informing the public that the original Quintet in C long ago advertised by me as having been published by Breitkopf and Härtel in Leipsic, I declare at the same time that I have no interest in the edition published simultaneously by Messrs. Artaria and Mollo in Vienna. I am the more compelled to make this declaration since this edition is very faulty, incorrect and utterly useless to players, whereas Messrs. Breitkopf and Härtel, the legal owners of this Quintet, have done all in their power to produce the work as handsomely as possible.Ludwig van Beethoven.
To the Lovers of Music.
In informing the public that the original Quintet in C long ago advertised by me as having been published by Breitkopf and Härtel in Leipsic, I declare at the same time that I have no interest in the edition published simultaneously by Messrs. Artaria and Mollo in Vienna. I am the more compelled to make this declaration since this edition is very faulty, incorrect and utterly useless to players, whereas Messrs. Breitkopf and Härtel, the legal owners of this Quintet, have done all in their power to produce the work as handsomely as possible.
Ludwig van Beethoven.
A year later Beethoven revoked this declaration so far as it concerned Mollo in the following