Alexander Wheelock Thayer

Jerome Bonaparte’s Invitation—The Annuity Contract—Operatic Projects—Seyfried’s “Studies”—The Siege of Vienna—Increased Cost of Living—Dilatory Debtors—The Year 1809.

The offer of an honorable position in Cassel—permanent, so long as Napoleon’s star might remain in the ascendant and his satellite retain his nominal kingship of Westphalia—was one no less gratifying to Beethoven, than surprising and perplexing to his friends. Knowing both the strong and the weak points of his character, they saw the extreme improbability that, with his increasing deafness, his removal thither could in the end redound to his profit, honor, or happiness. On the other hand, they saw him—at the very moment when he was giving new proofs of those stupendous powers which elevate him far above all other instrumental composers—forced to consider the question of seeking in a small provincial capital that permanent provision for his future necessities which, in the home of his choice at the end of sixteen years’ residence, he saw no hope of obtaining. What an inexcusable, unpardonable disgrace to Vienna would be the departure of Beethoven under such circumstances! It was the first time the question had been presented; but being presented it was promptly met by a request from persons of “high and the highest rank that he state the conditions under which” he would decline the call to Cassel and remain in Vienna.

Here was one of those happy opportunities for conferences, notes, letters and despatches innumerable, which Beethoven all his life seems to have so eagerly embraced and enjoyed. Several of his notes to Gleichenstein on the topic have been preserved, but are not worth transcribing, except those containing instructions for the drafting of the conditions of his remaining in Vienna. A letter dated January 7, 1809, by Beethoven to Breitkopf and HÄrtel, indicates that at the opening of the year 1809, Beethoven was still firmly resolved to go to Cassel. In it occurs this passage:

At last I am forced by the intrigues and cabals and contemptible actions of all kinds to leave the only surviving German fatherland on the invitation of his Royal Majesty of Westphalia, I am going thither as chapelmaster with an annual salary of 600 ducats in gold—I have only to-day sent my assurance that I will come by post and am only waiting my decree before making preparations for my journey which will be by way of Leipsic—therefore in order that my journey shall be the more brilliant for me I beg of you if not too prejudicial to your interests not to make anything known of my works till Easter—in the case of the sonata which is dedicated to Baron Gleichenstein, please omit the “K. K. Concipist,” as it is distasteful to him. In all probability abusive letters will again be written from here about my last musical academy to the “Musikalische Zeitung”; I do not ask that what is against me be suppressed; yet somebody ought to be convinced that nobody has more personal enemies here than I; this is the more easily to be understood, since the state of music here is steadily growing worse—we have chapelmasters who know so little about conducting that they can scarcely read a score themselves—it is worst of all, of course, auf der Wieden—there I had to give my academy and all kinds of obstacles were put in my way. The Widows’ Concert, and Herr Salieri is among the first, was guilty of the hideous act of threatening to expel every musician who played for me—notwithstanding that several mistakes which I could not help were made, the public accepted everything enthusiastically—nevertheless, scribblers from here will certainly not fail again to send miserable stuff against me to the “Musikalische Zeitung”—the musicians were particularly angry because when a blunder was made through carelessness in the simplest, plainest place in the world, I suddenly commanded silence and loudly called Again—such a thing had never happened to them before; the public at this showed its enjoyment—but it is daily growing worse. The day before my concert, in the easy little opera Milton, at the theatre in the city, the orchestra fell into such disorder that chapelmaster and director and orchestra veritably suffered shipwreck—for the chapelmaster instead of being ahead was behind in his beat and then came the director.

(On the back of the cover):

I beg of you to say nothing with certainty about my appointment in Westphalia until I write to you that I have received my decree.—Farewell, etc.

Plan to Keep Beethoven in Vienna

It seems likely that the suggestion that formal stipulations for a contract under which Beethoven would decline the offer from Cassel and remain in Vienna be drawn up came from Countess ErdÖdy. At any rate Beethoven writes to Gleichenstein: “Countess ErdÖdy is of the opinion that you ought to outline a plan with her according to which you might negotiate in case they approach you as she is convinced they will. If you have time this afternoon, the Countess will be glad to see you.”

The outline of the proposition which was to be submitted to certain noble gentlemen was drawn up by Beethoven for Gleichenstein as follows:

(On the outside: “Outline for a Musical Constitution.”)

First the offer of the King of Westphalia is to be set forth. B. cannot be held down to any obligation on account of this salary since the chief object, viz., the invention of new works would suffer thereby—this remuneration must be assured to Beethoven until he voluntarily renounces it—the Imperial title also if possible—to alternate with Salieri and Eibeler—the promise of active court service as soon as possible—or adjunction if it be worth while. Contract with the theatres likewise with the title of Member of one of the Committees of Theatrical Direction—a fixed day forever for a concert, even if there be a change in the directorate in the theatre, in return for which Beethoven binds himself to compose a new work every year for one of the charity concerts as may be thought most useful—or to conduct two—a place at a money changer’s or such kind where Beethoven would receive the stipulated salary—the salary must be paid also by the heirs.

On some of these points Beethoven changed his mind and wrote again thus:

It is probably too late to-day—I could not get your writing back from E.—until now, inasmuch as A. wanted to add a few items, buts, and inasmuches—I beg of you to have everything turn on the true and proper practice of my art, thus you will write what is in my heart and head—the introduction is what I am to get in Westphalia, 600 ducats in gold, 150 ducats travelling expenses, for which I have to do nothing except conduct the King’s concerts which are short and not numerous—I am not even bound to conduct any opera that I may write—from all which it is clear that I can devote myself wholly to the most important purpose of my art to compose works of magnitude—also an orchestra at my disposal.

N. B. The title of Member of one of the Theatrical Committees is dropped—It could bring nothing but vexation—in respect of the Imperial duties I think the point must be handled delicately—not less than the demand for the title of Imperial Chapelmaster, than a regard to my being placed in a position through a court salary to give up the sum which the gentlemen are now paying me. I think that this might best be expressed as a hope or a highest wish sometime to enter the Imperial service, when I could at once accept as much less as the sum received from his Imperial Majesty amounts to.

(On the top of the last page):

N. B. We shall need it to-morrow at 12 o’clock, because we must then go to Kinsky. I hope to see you to-day.

Under these instructions the “Conditions” were drawn up by some person unknown, in manner and form following:

It must be the striving and aim of every true artist to achieve a position in which he can devote himself wholly to the elaboration of larger works and not be hindered by other matters or economical considerations. A musical composer can, therefore, have no livelier desire than to be left undisturbedly to the invention of works of magnitude and then to produce them in public. In doing this he must also keep his old age in view and seek to make ample provision for himself against that time.

The King of Westphalia has offered Beethoven a salary of 600 ducats in gold for life and 150 ducats travelling expenses, on the single condition that he occasionally play for him and conduct his chamber concerts, which are to be not numerous and short.

This offer is certainly entirely in the interest of art and the artist.

Beethoven, however, has so great a predilection for life in this city, so much gratitude for the many proofs of good will which he has received here, and so much patriotism for his second fatherland, that he will never cease to count himself among Austrian artists and will never make his domicile elsewhere if the opportunities mentioned above are measurably offered him here.

Persons of high and the highest ranks, having asked him to state under what conditions he would be willing to remain here, he has complied with the request as follows:

1. Beethoven should receive from a great personage assurance of a salary for life even if a number of persons of rank contribute to the sum. This salary under the existing conditions of high cost of living, could not be less than 4000 florins a year. Beethoven desires that the donors of this salary consider themselves co-authors of his new works in the large forms, because they place him in a position to devote himself to their production and relieve him of the need of attending to other affairs.

2. Beethoven should always have freedom to make artistic tours, because only by such can he make himself very well known and acquire some property.

3. It would be his greatest desire and most ardent wish sometime to enter into the actual Imperial service and by reason of the salary expected from such a source to be able to waive in whole or in part the compensation set forth above; meanwhile the title merely of an Imperial Chapelmaster would make him very happy; if it could be obtained for him his stay here would be still dearer to him.

Should this desire some day be fulfilled and he receive a salary from His Majesty, Beethoven will forgo his claim on as much of the 4000 florins as the Imperial salary amounts to, and if this is 4000 florins, then he would forgo the entire 4000 florins above specified.

4. As Beethoven desires to perform his new works in public, he desires an assurance from the Court Theatrical Directors, for themselves and their successors, that on Palm Sunday of each year he shall have the use of the Theater-an-der-Wien for a concert for his own benefit.

In return for this assurance, Beethoven would bind himself to arrange and conduct a charity concert every year or, in case of inability to do this, to contribute a new work for such a concert.[64]

Beethoven Guaranteed an Annuity

The conditions proving acceptable, the business was concluded and Beethoven retained in Vienna by this

Agreement:

The daily proofs which Herr Ludwig van Beethoven is giving of his extraordinary talents and genius as musician and composer, awaken the desire that he surpass the great expectations which are justified by his past achievements.

But as it has been demonstrated that only one who is as free from care as possible can devote himself to a single department of activity and create works of magnitude which are exalted and which ennoble art, the undersigned have decided to place Herr Ludwig van Beethoven in a position where the necessaries of life shall not cause him embarrassment or clog his powerful genius.

To this end they bind themselves to pay him the fixed sum of 4000 (four thousand) florins a year, as follows:

His Imperial Highness, Archduke Rudolph	Fl. 1500
The Highborn Prince Lobkowitz	„ 700
The Highborn Prince Ferdinand Kinsky	„ 1800
Total	Fl. 4000

which Herr van Beethoven is to collect in semi-annual installments, pro rata, against voucher, from each of these contributors.

The undersigned are pledged to pay this annual salary until Herr van Beethoven receives an appointment which shall yield him the equivalent of the above sum.

Should such an appointment not be received and Herr Ludwig van Beethoven be prevented from practising his art by an unfortunate accident or old age, the participants herein grant him the salary for life.

In consideration of this Herr Ludwig van Beethoven pledges himself to make his domicile in Vienna, where the makers of this document live, or in a city in one of the other hereditary countries of His Austrian Imperial Majesty, and to depart from this domicile only for such set times as may be called for by his business or the interests of art, touching which, however, the high contributors must be consulted and to which they must give their consent.

Given in Vienna, March 1, 1809.

(L. S.) Rudolph,
Archduke.
(L. S.) Prince von Lobkowitz,
Duke of Raudnitz.
(L. S.) Ferdinand Prince Kinsky.

This document bears in Beethoven’s hand these words:

Received
On February 26, 1809
from the hands
of Archduke
Rudolph, R. H.

The remarks in a former chapter upon the singular attraction for the young of Beethoven and his works are supported by this contract. Lobkowitz, it is true, was near the master’s age, being then 35; but Rudolph and Kinsky were respectively but 21 and 27. Ries, who was then much with Beethoven, asserts that the contract with the King of Westphalia “was all ready; it lacked only the signature” before his Vienna friends moved in the matter and “settled a salary on him for life.” He continues:

The first fact I knew; of the second I was in ignorance until suddenly Chapelmaster Reichardt came to me and said: “Beethoven positively would not accept the post in Cassel; would I as Beethoven’s only pupil go there on a smaller salary?” I did not believe the first, went at once to Beethoven to learn the truth about it and to ask his advice. I was turned away for three weeks—even my letters on the subject were unanswered. Finally I found Beethoven at the Ridotto. I went to him and told him the reason of my inquiries, whereupon he said in a cutting tone: “So—do you think that you can fill a position which was offered to me?” He remained cold and repellant. The next morning I went to him to get an understanding. His servant said to me gruffly: “My master is not at home,” although I heard him singing and playing in the next room. Since the servant positively refused to announce me I resolved to go right in; but he sprang to the door and pushed me back. Enraged by this I grabbed him by the throat and hurled him down. Beethoven, hearing the racket, dashed out and found his servant still lying on the floor and me pale as death. Angrily excited, I so deluged him with reproaches that he stood motionless and speechless with surprise. When the matter was finally explained to him he said, “I did not understand it so; I was told that you were trying to get the appointment behind my back.” On my assuring him that I had not yet even given an answer, he at once went out with me to make the mistake good. But it was too late; I did not get the appointment, though it would have been a piece of great good fortune for me at that time.

It requires no great sagacity to perceive from the text of the “Agreement,” that neither of its signers had any expectation that Beethoven could ever perform the duties of an Imperial Conductor acceptably; and his hope of obtaining the title must have rested upon the influence, which he supposed Archduke Rudolph might exert upon Emperor Franz. Be this as it may, the composer was justly elated by the favorable change in his pecuniary condition; and his very natural exultation peeps out in the correspondence of the time. While the business was still undecided, Gleichenstein had departed on a visit to his native Freiburg, via Munich, taking with him a letter of introduction, the contents of which Beethoven himself thus epitomises:

Here, my dear fellow, is the letter to Winter. First it says that you are my friend—secondly, what you are, namely K. K. Hofconcipist—thirdly, that you are not a connoisseur of music but nevertheless a friend of all that is beautiful and good—in view of which I have asked the chapelmaster in case anything of his is performed to let you participate in it....

On March 18, Gleichenstein received a copy or abstract of the contract enclosed in this:

The jesting on matrimony in this letter and the allusion to BÜrger’s unlucky marriage with Christine Elizabeth Hahn, attest the writer’s lightness of spirit, but are not to be taken seriously; for we shall soon find reason to believe that at this moment he had a very different project in view than to make a wife of the greatest beauty in Freiburg.[65]

Under date “Vienna, March 4, 1809,” Beethoven wrote a letter to Breitkopf and HÄrtel in which he informed them, by means of an inclosure to which he called their attention, of his change of plans touching the appointment at Cassel and told them that he was contemplating a “little journey,” provided the “threatening storm-clouds did not become more dense.” The letter accompanied the Violoncello Sonata dedicated to Baron Gleichenstein and the Fifth and Sixth Symphonies, together with a memorandum of slight improvements which had suggested themselves to him at the performance; also a formula for the dedication of the Trios (then numbered 62) to Countess ErdÖdy. About this time came out new compositions and new editions or arrangements of old ones which occupied the opus numbers from 59 to 66 and compelled Beethoven to change these proposed numbers, 59-62 to 67-70. The “Allg. Mus. Zeit.” had printed a notice about the offer from Cassel in which Reichardt was represented as having been the intermediary in the negotiations. This brought out from Beethoven a correction dated April 5, addressed to Breitkopf and HÄrtel:

The allusions to a tour in the letters to Gleichenstein and Breitkopf and HÄrtel, and the provision made in the Agreement for the composer’s temporary absence from Austria, acquire a particular significance from one of the notes of RÖckel’s conversation, namely: “Beethoven in those days was full of the project of traveling, and a plan was marked out of visiting the German cities, then England and finally Spain; upon which last RÖckel laid great stress. He was to have accompanied Beethoven; but he could not leave Vienna, on account of having so many of his brothers and sisters[66] sent to him to care for.”

In March, 1809, Beethoven, forwarding a letter to his brother, “to be delivered at the apothecary shop ‘To the Golden Crown’” in Linz, enclosed in it an envelope, inside of which he wrote the words quoted in a previous chapter, in which he prayed God to put feeling in place of insensibility into his brothers, and bemoaned the fact that, needing some one to help him, he knew not whither to turn. The breach between Beethoven and his brother Karl was now, in business matters, complete; and he needed some one to perform for him many little offices which he could not with propriety demand of Zmeskall, Gleichenstein or RÖckel, even had they had the leisure and the will. Hence, about this time, was formed his connection with a certain Franz Oliva, clerk in the employ of Offenheimer and Herz. A singular obscurity rests upon this man’s personal history and the exact nature of his relations to Beethoven—an obscurity which even the indefatigable investigator Ferdinand Luib did not succeed in removing. What is certain is this: the relations between them were exceedingly close up to the spring of 1812; afterwards less so; but never broken off entirely until the departure of Oliva in 1820 to St. Petersburg, where he found it for his interest to establish himself as a teacher of languages. In due time the “Wiener Zeitung” published an official notice from the Austrian Government calling upon him immediately to return and justify himself for overstaying his leave of absence under pain otherwise of being proceeded against under the emigration laws of the country. Oliva’s reply to this was a very practical one; he took a wife, fixed his Lares and Penates in St. Petersburg and begat a daughter, who, under date of August 26, answered a letter of Otto Jahn’s inquiring about her father’s relations and correspondence with Beethoven by saying that a fire and the death of Oliva from cholera in 1848, had caused the loss and dissipation of Beethoven’s letters and that she was unable to write the details of the intercourse between her father and Beethoven. Inasmuch as she fixed the beginning of this intercourse in 1814, it is not likely that her contribution to this history would have been valuable.

But the threatening war-clouds became more dense. The same French armies which laid the foundations for Johann van Beethoven’s prosperity not only prevented Ludwig’s contemplated journey but affected him disastrously both pecuniarily and professionally. On May 4th, the Empress left Vienna with the Imperial family. Archduke Rudolph accompanied her, and Beethoven mourned his departure in the well-known first movement of the Sonata, Op. 81a. This work has been described by Marx as a “Soul picture, which brings before the mind the Parting—let us assume of two lovers; the deserted—let us assume again sweet-heart or wife—and Reunion of the Parted Ones.” But unfortunately for that writer Beethoven’s manuscript bears these inscriptions in his own hand: “The Farewell, Vienna, May 4, 1809, on the departure of His Imperial Highness the revered Archduke Rudolph”; on the Finale: “The Arrival of His Imperial Highness the revered Archduke Rudolph, January 30, 1810.”

With a garrison of 16,000 troops, 1000 students and artists, the civil militia and a small number of summoned men, Archduke Maximilian was ordered to defend Vienna. Thus it came about that Beethoven, on the 10th of May, found himself shut up in a beleaguered city.

Beethoven’s experiment of lodging with Countess ErdÖdy, as might have been predicted, was not a successful one; he was too irritable, whimsical, obstinate; too ready to take offense, too lax in asking or giving explanations. We have seen in divers cases, how, when he discovered himself to be in the wrong, he gladly made every due acknowledgment; but, as in the case of Ries, this was often too late to remedy the mischief already caused. Before the close of the winter, he was evidently becoming discontented; so much so as to take ill even the singular proof of the Countess’ good will spoken of in the following note:

Another note bears Zmeskall’s date: “March 7, 1809”:

What cause of dissension, beyond the ill-advised gratifications to the servant, had arisen between Beethoven and the Countess is not known; but something had occurred, the blame of which he soon saw was all his own, and for which he thus humbly expresses his contrition and beseeches forgiveness:

There are sufficient grounds for belief that an immediate reconciliation took place; nevertheless, Beethoven decided to go into another lodging, and one was found for him in the “Klepperstall in der Teinfaltstrasse im 3ten Stock beym Advokaten Gotischa,” as he describes it in a letter to Breitkopf and HÄrtel dated August 3, 1809. He does not seem to have occupied the lodging, however, for as a letter written to Zmeskall in the same month[67] shows he was still in Baden, much interested in the exhibitions of an aeronaut named Degen. If he took possession at all he soon gave it up and removed to one in the Walfischgasse looking out over the city wall and glacis directly upon the place where the Polytechnic Institute now stands.

The French commanders demanded the capitulation of Vienna, but Archduke Maximilian rejected the demands, and the French erected a battery on the Spittelberg to shell the city. Every shot directed by this battery against the KÄrnthnerthor and the Wasserkunst Bastei was liable to plunge into Beethoven’s windows.

At 9 o’clock at night (on the 11th) the battery of 20 howitzers opened fire. Rich and poor, high and low, young and old at once found themselves crowded indiscriminately in cellars and fireproof vaults.

Beethoven took refuge in the Rauhensteingasse and “spent the greater part of the time in a cellar in the house of his brother Kaspar (Karl), where he covered his head with pillows so as not to hear the cannons,” so says Ries. More probably Beethoven took this wise precaution to save his feeble organs of hearing from the effect of the sharp reports of bursting shells, for it does not appear that either the cannons on the bastions or those mounted in the streets were fired. “At half-past 2 (the afternoon of the 12th) the white flag was sent up as notice of capitulation to the outposts of the enemy.”

The occupation of the capital by the French and the gathering together of opposing armies for the terrible battles of Aspern, Esslingen, Wagram and Znaim produced the inevitable effects of increased consumption and deficient supply of the necessaries of life. Even before the capitulation “the rate of interest went up fearfully, especially in the sale of food, particularly bread, and because of the disappearance of copper coins.” From the capitulation to the armistice of July 12th, two months, “the enemy had drawn from the city nearly 10,000,000 florins and demanded enormous requisitions of supplies.” There was one requisition, perhaps more than one, which touched Beethoven directly: “A forced loan on the houses of the city and the suburbs amounting to one-quarter of the rentals from owners or the parties to a contract for rent on from 101 to 1000 florins and one-third on from 1001 to 2000 florins, etc.” Perhaps at no other time was Beethoven so well able to meet the extraordinary demands upon his purse as now. He had received from Archduke Rudolph 750 florins and from Prince Lobkowitz 350 florins, his first payment of the annuity; and doubtless Breitkopf and HÄrtel and his other publishers had remitted money or bills. Still he must have felt the pressure of the time severely before Vienna again became free. To whom could he go for aid? Kinsky departed to Prague on February 26; his wife and Prince Lobkowitz on March 14. The Lichnowskys, Palfys, Waldstein, etc., were all away; some in the war; some in the civil service; some on their estates—the ErdÖdys, for instance, took refuge in Hungary or Croatia. Of personal friends, Breuning seems to have remained—no other is known to have done so. Bigot and his wife went off to Paris, never to return; Zmeskall and the public officials in general had followed the Court and the Ministers to places of safety. The posts were interrupted and for many weeks communication with the country prohibited. It was not until near the end of July that the Prater, the Augarten, Schwarzenberg Garten, and the SchÖnbrunner Garten were opened to the public. For Beethoven, this confinement during this season of the year when he was accustomed to breathe inspiration in vale and forest, was almost intolerable, and increased if possible his old hatred of Napoleon and the French. Young Rust met him one day in a coffee-house and saw him shake his fist at a passing French officer, with the exclamation: “If I, as general, knew as much about strategy as I the composer know of counterpoint, I’d give you something to do!”

Under such circumstances, and with no immediately pressing necessity for composition, even the genius of a Beethoven must sleep. We may suppose, that under the impulse of the departure of the Archduke, Beethoven completed the “Farewell” and “Absence” of the Sonata, Op. 81a; and that he gave the final touches to the Pianoforte Concerto in E-flat, Op. 73, and made some studies for new symphonies, and sonatas; but the fountain soon ran dry, and the tedious weeks of this miserable summer were mainly devoted to the laborious task of selecting and copying in order extracts from the theoretical works of C. P. E. Bach, TÜrk, Kirnberger, Fux and Albrechtsberger, for subsequent use in the instruction of Archduke Rudolph—a task which, in our opinion, he had for some time had in mind, and had begun, at the very latest, early in the year. The “Materials for Thoroughbass” and “Materials for Counterpoint”—as two of his books are respectively headed by him—are largely the basis of that extraordinary imposition upon the musical public, prepared by Seyfried and published by Haslinger as Beethoven’s Studies under Haydn and Albrechtsberger—an imposition which was successful for 30 years! Schindler early warned the public against the fraud. His charges were never answered; nor was his challenge to prove the genuineness of the work taken up.

Some time in August a letter from Amsterdam, which was preserved by the widow of Beethoven’s nephew Karl, was received by the composer, notifying to him his appointment as a Correspondent of the Fourth Class of the Royal Institute of Science, Literature and the Fine Arts. It gave occasion shortly after its receipt for a letter to Breitkopf and HÄrtel in which Beethoven says: “Do you know that I have become a member of the Society of Fine Arts and Sciences?—after all a title—ha-ha, it makes me laugh!” In another letter to Breitkopf and HÄrtel, dated August 8, he says he has sent them the Sextet for Wind-instruments, Op. 71, and two German songs as a “return gift for all the things which I have asked as gifts from you.” “The Sextet is one of my early things and, besides, was written in one night; nothing more can be said of it except that it was written by an author who at least has done better things—but to many people such things are the best.” He also asks for the complete works of Goethe and Schiller, his “favorite poets, with Ossian and Homer.” One of the two songs referred to was undoubtedly “Ich denke dein.” The second song was probably the “Lied aus der Ferne,” the first of five settings which Beethoven made of poems by C. L. Reissig and which gave rise to much annoyance. In a letter to Breitkopf and HÄrtel, dated February 4, 1810, he wrote:

In this letter Beethoven offers Breitkopf and HÄrtel the Fantasia (Op. 77), the Choral Fantasia (Op. 80), three Pianoforte Sonatas (Op. 78, 79 and 81a), the Variations (Op. 76, in D major), the Quartet (Op. 74), the Pf. Concerto in E-flat, and “12 songs with pianoforte accompaniment, texts partly in German, partly in Italian, nearly all composed throughout.” That among these songs were four others to Reissig’s words (“An den fernen Geliebten,” “Der Zufriedene,” “Der JÜngling in der Fremde” and “Der Liebende”), which were not published till some years later, is a natural conclusion from a passage in a letter to Breitkopf and HÄrtel, dated September 11, 1810:

In a still angrier mood he recurs to the songs again in a letter of October 15:

Beethoven’s longing desire for the country was not to be gratified immediately. Manager Hartl had projected a new charity, a theatrical poor fund, and as usual called upon him to give attraction to the first public concert for its benefit, by directing one or more of his works. During the French occupation the ordinary performances of both Court Theatres were given in the KÄrnthnerthor. At the Burg—the real Court Theatre, forming, indeed, a part of the Imperial residence—after being closed some weeks, a French company opened on the 18th of July, played for a time alternately with a German one, and then held—as if in bitter irony—exclusive possession of the stage. Was not Vienna a French city? the Burg a French palace? Did not Napoleon’s eagle head the “Wiener Zeitung”? At SchÖnbrunn the theatre was devoted almost exclusively to Italian opera and ballet, for the amusement of the French Court. Under these circumstances Hartl might reasonably expect munificent support from the conquerors for at least one charity concert for the benefit of the actors and their families. Hence, as on the 8th of September (the Nativity of the Virgin Mary) the Court Theatres would be closed, he selected that day. The programme has eluded search; but one number was the “Sinfonia Eroica,” conducted by its author. Was this selected, in the expectation that Napoleon would be present, to do him homage? If so, it failed of its aim. The day before, Napoleon journeyed from SchÖnbrunn to Krems and MÖlk. Or was it in bitter sarcasm that Beethoven chose it?

An undated letter to von Collin refers to this concert. In it he asked the Court Secretary to rewrite a note which he had addressed to Beethoven when Hartl gave him the commission for the concert, and which he had lost. He goes on:

Give to this note the earliest date possible, still there remain to Beethoven less than four months to the Christmas holidays, in which to complete, copy and rehearse whatever new works he intended to produce in the concert. The Pianoforte Concerto in E-flat major is the only work known to have been ready; what others may he have had in contemplation? The question is, in itself, rather interesting than important; its bearing, however, upon other matters hereafter warrants its discussion at some length.

Let us turn again for a moment to the so-called “Studien.” On the margin of the “Materialien zum Generalbass,” Beethoven wrote: “from 101 to 1000 florins a quarter—all residents or parties to rent-contracts without distinction.” This was, of course, written at the time of the forced contribution of June 28th, but is no proof that the book was then just begun. It shows merely that it was lying before him, offered him a convenient vacant space for the memorandum.[69] Again on page 17, on the upper margin, stands: “Printer’s errors in the sonata for pianoforte with obbligato violoncello.” This sonata, beyond all question, was the one dedicated to Gleichenstein, published early in April by Breitkopf and HÄrtel, and sent to the composer before the breaking of post communications by the advance of Napoleon’s armies. Now, whether Beethoven’s words were merely a memorandum, or—as Nottebohm is of opinion—were the heading of a sheet intended to receive a list of the printer’s errors—in either case we must suppose them to have been written immediately upon the composer’s first examination of the printed work—at the latest in April.[70]

Now, it cannot be reasonably supposed that the idea of selecting and arranging such a series of “Studien” for the Archduke’s instruction as these bound sheets contain was suddenly conceived and executed with no previous study nor protracted examination of the then existing authorities, and all during the few weeks when Beethoven was confined to the city. It is equally improbable that the Archduke’s studies in the theory of music did not begin until after his return to Vienna (January, 1810), when he was 22 years of age. We can discover no objection to the following hypothesis as to the origin of the bound sheets in question; namely, that Beethoven began by making his extracts from Bach, TÜrk, etc., as they were needed in the progress of his lessons; and that the execution of the task complete was an afterthought, arising from want of occupation at a time when he felt himself unfitted for original composition. The inference is, that, for several months, his thoughts had been more than ordinarily turned toward theoretical studies.

Now, to the question just proposed.

In the late Gustav Petter’s Collection of Autography (in Vienna) is a sketchbook of Beethoven’s—148 pages in extent—largely devoted to studies for two works, but containing themes and hints for many others, with an occasional characteristic note or name: random, not always strictly musical. Those who have had occasion to study this book—the present writer included—have heretofore assumed, that it belongs to the year 1812. The correctness of this assumption must be tested.[71]

On the first page are two measures of music—merely a succession of chords—with this remark: “Such (passages) should produce another effect than the miserable enharmonic evasions which every school Miserabili can write, they ought to disclose the change to every hearer.” This, though not fixing the date, does at least suggest the time when its writer’s mind was unusually occupied with theoretical studies. On the same page is this: “Cotton in my ears at the pianoforte frees my hearing from the unpleasant buzzing (das unangenehme rauschende)”—which suggests a time when his organs of hearing were still very sensitive, and he had not yet abandoned his pianoforte playing. Suggestions so vague cannot be offered as argument; but if any weight be granted to them, it is in favor of the winter 1808-9. Something more than a mere suggestion is offered on page 18. Here Beethoven has written: “Overture Macbeth, the chorus of witches comes in at once.” Whether the succeeding sketches belong to this overture is a question for a musician. Now that first act of “Macbeth,” read by RÖckel in 1808, together with the first act of the Oratorio, “Die Befreiung Jerusalems”—both written for Beethoven—lay before the composer in print early in the year 1809. Collin had inserted them in the “Hoftheater-Taschenbuch” of that year. The poet died in 1811, leaving both unfinished. To suppose that Beethoven, in 1812, gave thought to an incomplete text by a deceased poet, is absurd. His memorandum is evidently the record of an idea which occurred to his mind on perusing the fragment, and determines the date of the first part of the sketchbook to be the beginning of 1809. Passing to the middle of page 22, one comes upon this:

With few interruptions, such as a theme for a “symphony without drums,” “good triplets of another sort,” the Allegretto and Finale of the Seventh Symphony are the subjects of the studies for more than forty pages. That modest gem—the theme of the Allegretto—is still the same throughout; but how astonishing the number and variety of forms for its setting, that were tested, before the majestic, the sublime simplicity was attained, which satisfied the exquisite taste of its creator!

On page 71 begin the sketches for the first, on page 83, for the last movement of the Eighth Symphony. These two Symphonies, then, were the grand orchestral works in preparation for the proposed concert. Scattered along this part of the sketchbook are divers subjects for pianoforte works; as if Beethoven had in mind a companion piece to the E-flat Concerto for the farther display of his powers. In our notes we find, “Overture-Concerto,” p. 73; p. 83 “Concerto in G”—“Concerto in G or E minor”—“Adagio in E-flat”—“Finale Tutti”; and near the bottom of the same page—“Polonaise for Pianoforte alone.” But the master had no new vocal work for the occasion. Do not the following memoranda—accompanied in the sketchbook by numerous studies—show how the deficiency was to be supplied? Immediately following the “Polonaise” we read:

Again on leaf 43:

On the same page again:

One of the sketches (according to our copy) begins thus:

At or near this point the book was for the present laid aside; for the intended concert was abandoned, and Beethoven’s studies were abruptly turned in other directions.

The explanation of this is easy.

In the lists of “newly performed plays” in the two Vienna Court Theatres from August 1, 1803 to July 31, 1805, and from August 1, 1806 to December 31, 1807, Schiller’s name does not once occur; not so in the lists after Hartl’s undertaking the direction, January 1, 1808. Here we find:

Thus had Schiller suddenly become a leading topic in the conversation of theatrical circles. One sees now how Collin and Beethoven hit upon the “Macbeth” as a subject for opera; and how the composer’s youthful idea [see Vol. I, p. 132] of making the “Ode to Joy” the subject of a composition was recalled to mind.

It does not appear from any records at hand, that either of the above-named dramas was produced with music composed for it; but Hartl now determined, with his next Schiller drama, to put one by Goethe in rehearsal and to provide both with original music. “When it was decided,” writes Czerny,

Perhaps Beethoven’s experience with the “Ode to Joy” and the “Egmont” just at this time was the origin of a fine remark to Czerny. “Once, when the talk was about Schiller, he said to me: ‘Schiller’s poems are very difficult to set to music. The composer must be able to lift himself far above the poet; who can do that in the case of Schiller? In this respect Goethe is much easier.’”

The order for the immortal “Egmont” music, by presenting the completion of new compositions, necessarily caused the concert to be abandoned, and Beethoven was at last able to seek the much needed rest and recreation, both physical and mental, away from the city, its cares and duties. It needs scarcely to be said that the condition of affairs prevented Beethoven from going into the country until late in the summer of 1809.

To what “happy corner in the country,” if indeed to any, he now retired, is not positively known. “He was often in Hungary,” says Czerny, and there is no good reason to doubt that he went thither now to pass several weeks with the Brunswicks. It was already his practice to grant manuscript copies of his new works for the collection of Archduke Rudolph, whose catalogue, therefore, is of the highest authority in determining their dates. From this source it is known that the Pianoforte Fantasia, Op. 77, previously sketched, and the great F-sharp Pianoforte Sonata, Op. 78, were completed in October. The dedication of these two works to Count Franz and his sister Therese leads to the inference, that they are memorials of happy hours spent in their domestic circle.[73]

Beethoven himself speaks in very strong terms of his extraordinary industry during these weeks, the only probable explanation of which, we think, is, that he now composed or completed and prepared for publication several songs and minor pianoforte works—in part previously sketched, in part quite new. There are several such compositions, known to belong to this period of his life, although their exact date has not been ascertained.

It is conjectured, also, that, at this time and through the influence of Count Brunswick, Beethoven received the order for his other principal contributions to dramatic music. In 1808 Emperor Franz had sanctioned the building at Pesth of “an entirely new grand theatre with Ridotto room, casino, restaurant and coffee-house,” an enterprise which, notwithstanding the catastrophe of 1809, it was now thought would be completed in 1810.[74] It was time therefore to consider the programme for its opening performances, and as no living musician could give the occasion so much splendor as Beethoven, it was of high importance that his consent to compose the music should be secured as early as possible. This, through Brunswick and other Hungarian friends, was no difficult task; more especially as the master had a work of the character required in hand—the “Egmont” music. Another reason for hastening the business with the composer may have been, that his consent or refusal must have some influence upon the form and character of the drama or dramas, which were still to be written. After Beethoven’s return to the Walfischgasse, his time appears still to have been exceedingly occupied in composition; so much so as to yield nothing eventful for a biographer to record. There is, however, one deeply touching and interesting letter to Gleichenstein which must be copied complete. Its date is determined by these circumstances, namely: Poor Breuning had, in April, 1808, married Julie, the beautiful and highly accomplished daughter of Staff Physician von Vering. Less than one year thereafter the young wife, by an imprudent use of cold foot-baths, brought upon herself a hemorrhage of the lungs and died suddenly, only 19 years of age, March 21, 1809. The letter dates from this period:

It was upon finding himself in the Walfischgasse without a servant that Beethoven seems first to have thought of trying the experiment of living independently of hotels and eating-houses, and dining at home. It was therefore of importance to him, if possible, to obtain the joint service of some man and wife, and such a couple now offered themselves as servant and housekeeper. This, with the remark that the rehearsal mentioned was of the Lobkowitz Quartet, Op. 74, is sufficient introduction to the following excerpts from the Zmeskall correspondence:

Shakespeare’s clowns in “A Midsummer Night’s Dream” have enriched theatrical speech with “lamentable comedy” and “very tragical mirth”; phrases not inappropriate to the domestic dramas in which Beethoven and his servants were the actors, and which he made the subjects of numberless Jeremiads both in conversation and in letters to his friends—especially to Zmeskall and Mme. Streicher. As one example—and surely one is enough—take the case of the Herzogs. They were engaged and were still in Beethoven’s employ when the departure of Napoleon and his armies enabled those belonging to the public service to return and resume their duties in the Capital—Zmeskall among them. As in the spring he had to accommodate himself to “peace negotiations” between Beethoven and his servant, so now he must again officiate in this “glorious office” between him and the Herzogs. The imagination can readily form a lively and correct picture of Beethoven’s troubles, partly serious, partly tragi-comic, with these people, during that wretched summer, shut up in the city, all the necessaries of life at famine prices, and they on his hands to be provided for. The situation certainly was not one fitted to sweeten the temper of either party; no doubt both had good cause of complaint. We have, however, only the master’s side of the question and not the whole of that. One who invariably has trouble with his servants must sometimes himself be in fault; so, perhaps, the Herzogs were not such “very bad people” after all.

His friend Clement of the Theater-an-der-Wien gave Beethoven a pleasing compliment by reproducing in his annual concert (December 24) the “Christus am Ölberg.” On the same evening, by the way, Dobenz’s oratorio, “Die SÜndfluth,” with music by Kauer, was sung at the Leopoldstadt Theatre, as it would seem, from the sarcastic notice in the “Allg. Mus. Zeit.,” with appropriate scenery! If Beethoven heard it, which is doubtful unless at rehearsal, he found he had little reason to mourn his non-acceptance of that text.

Negotiations had been resumed about this time between George Thomson of Edinburgh and Beethoven, touching the arrangement of national melodies. In a letter dated September 25, 1809, Thomson sent Beethoven 43 Welsh and Irish melodies with the request to provide them as soon as possible with ritornellos and accompaniments for pianoforte or pedal harp, and violin or violoncello, and held out the promise of 100 ducats, Vienna standard, or even more as payment. Besides this, Thomson had requested him to write three quintets, two for two violins, viola, flute and violoncello, one without flute but two violas instead (with bassoon or double-bass ad lib.), and also three sonatas for pianoforte and violin. For these works he offered him 120 ducats Vienna standard. “I make you this offer,” said Thomson, “more to show you my taste and predilection for your music than in the hope to profit by the publication.”[75] To this proposition Beethoven replied as follows—in French and his own wretched hand, under date of November 23, 1809: