[71] A ducat is about ten shillings English money.—ED.

[72] Wenzel Müller.

[73] It is remarkable that Beethoven, even at that time, should manifest in these lines so correct a notion of musical copyright. Though no man of business, he perceived that the purchaser of the original melody must at the same time have a right of property of all arrangements, if copyright is to be maintained inviolate.

[74] The same pun with the word stechen that has been remarked before.

[75] This alludes either to the "Italian and German Songs" (four numbers) published by me, or the "Italian and German Ariettes," Op. 82.

[76] This probably means the Missa Solemnis (Op. 123), afterwards published by the brothers Schott; for that brought out by Breitkopf and Härtel (Op. 86) had appeared long before the date of this letter.

[77] The compositions mentioned above by Beethoven have, as far as we know, never appeared in print, and were probably disposed of at the sale of his effects.

[78] The river which waters Berlin.

[79] Göthe's poem "Johanna Sebus."

[80] Clemens Brentano, the poet, Bettine's brother.

[81] See Göthe's Correspondence with a Child.

[82] From the Harmonicon, January, 1824.

[83] A neat little walled town of Austria, famous for its hot baths, seated on the river Schwocha. This must not be confounded with the more celebrated town of the same name in Switzerland.

[84] Mozart expressed himself in a similar manner; and Haydn, when at a performance of the Messiah in Westminster Abbey, was nearly overpowered by its sublime strains, and wept like a child.

[85] From the Harmonicon, December, 1825.

[86] Beethoven had already expressed himself to the same effect two years before to Hofrath Rochlitz, as may be seen in his work—"For the Friends of Music," vol. 4, page 355. I shall recur to this subject at the conclusion of the musical part of this book.

[87] There is no doubt that the vocal parts of Beethoven's works frequently lie very high, especially in places where words are to be pronounced. This is the case with his ninth Symphony with Soli and Chorus. The 1st recitative for the bass voice is in some parts uncomfortably high; and the composer himself permits the singer, in its opening notes, to sing musical notes. He would certainly have given similar licences in several other parts of this recitative, if it had not been against his plan of unity in this musical poem, as the same notes of the recitative are performed by the double-bass in the foregoing instrumental movement. When I prepared, for the first time, to conduct this Symphony, on the occasion of its revival by the Philharmonic Society (April 17th, 1837), I found similar difficulties in other parts of the vocal movement. An imperfect execution of these was to be apprehended, derogatory to the general effect. I considered it a bold undertaking to attempt any alteration, since every work which comes from such a master-genius should be reverentially handled: I nevertheless ventured to facilitate the execution of the passages in question. The full amount of changes made by me is acknowledged in the following illustration:—in so doing I hope to prove the truth of the saying, "that he who accuses himself has the best chance of finding mercy at the hands of critical judges."—ED.

[88] He was in a measure right, for, what with fioriture and roulades, the true Cantabile style had until then remained to these two ladies.

[89] The same thing took place with the bass solo part, in which, however, Beethoven at length gave way, and made a little alteration in the recitative, because it was too high for the singer.

[90] In this they were not in the wrong. As to the saying, "jurare in verba magistri," I am of opinion that it would be better to spoil the effect of a whole piece than to destroy a single voice; and that therefore every skilful Director should make such alteration as may be found necessary for the voices, especially in the Mass, where there are many soprano passages, which may be screamed, but cannot be sung. These alterations are, besides, very easily made, and the effect will be grand and true, when all the voices can proceed at ease.

[91] For an account of this Concert see Supplement, No. III., Vol. II.

[92] This refers to his brother Johann.

[93] See the Correspondence with Mr. Neate in the Supplement, No. II., Vol. II.

[94] Hofrath Rochlitz had already, in 1822, made him, in the name of M. Härtel, a proposal for the composition of Göthe's Faust.

[95] One of these answers, in Beethoven's hand-writing, I sent, in the year 1828, to Professor Marx, in Berlin, for the Berlin Musical Journal, but have never seen or heard of it since.

[96] This passage refers to the law-suit with his sister-in-law.

[97] Beethoven's brother.

[98] That he might not have to charge himself with any neglect, Beethoven, contrary to his custom, remained in town during the summer of 1826.

[99] As far as I have been able to learn, this nephew now holds some civil appointment under the Austrian government. It is therefore probable that time, circumstances, and mature reflection, have induced him to return to the right path, as we must all wish that he should. When we remember, however, the evil auspices under which his early education was conducted, we shall be inclined to seek in that period for the original causes of these most painful occurrences, and not be tempted to lift a stone against him, but rather leave him to be judged before the tribunal of that Divine Providence who has seen fit to subject our immortal composer to the severe trials beneath which he so early sunk.

[100] See the Correspondence between Beethoven and the Editor, Supplement No. VI., Vol. II.

[101] In a letter to Ries, dated the 5th of September, 1823, Beethoven says,—"My brother Johann, who keeps his carriage, has been trying to draw upon me."

[102] Mr. Stumpff, the proprietor of a harp manufactory in London, presented to Beethoven, the year before, the complete works of Handel, in upwards of forty folio volumes, of the rare and costly London edition. He was more delighted with this present than if he had received the Order of the Garter. At the sale of his effects, M. Tobias Haslinger bought this work for 100 florins!!! and from this it is easy to imagine what prices were paid at that auction for articles of less value.

[103] This gentleman, my particular friend, was for many years attached to the house of Baron von Eskeles, at Vienna, as tutor and companion to his only son. The reader will find some letters from him in the Supplement No. VI., Vol. II.—ED.

[104] It was not possible, and I therefore complied with his desire immediately after his decease, and conveyed his thanks to these two worthy men.

[105] Beethoven would have designated his career more accurately had he said—drama finitum est.

[106] It is worthy of mention that Beethoven for several weeks obstinately rejected the advice of Dr. Bach and myself, to place the property to be left for his nephew in the hands of trustees, till he should attain his majority, for which there existed the most urgent reasons. He wished that after his death his heir should come into the immediate possession of it, and dispose of it just as he pleased. It was not till after he had received the plainest proofs of the indifference of this heir to his misfortunes—since he often left Beethoven's letters for weeks together unanswered—that he agreed to our proposal, and accordingly wrote with his own hand his will, consisting of but three lines, by which, after the death of his nephew, the property was to devolve to his natural heirs.

[107] This will be more fully elucidated by M. Rau's letters. See Supplement, No. VI., Vol. II.—ED.

[108] For an account of the funeral, see Supplement, No. VII., Vol. II.

[109] This part properly belongs to the historical section of the biography, of which it forms the completion. But as its incorporation with the historical matter would frequently have occasioned an interruption of the narrative, I have thought it better to make the exclusively musical part of the work the subject of a distinct section.

[110] In like manner, Clementi has characterized his grand Sonata, No. 3, Op. 50. Having taken his ideas from the History of Dido, he illustrated his composition by the superscription:—"Didone abbandonnata—Scena tragica;" and besides, in the course of the work, not only the different movements, but also single passages, are rendered intelligible by particular superscriptions. It is truly unpardonable that this noble work, deserving to be ranked on a level with Beethoven's Sonatas, should be unknown to most of the pianoforte players of the present day. In the judgment of modern musicians and dilettanti, Clementi belongs to the old school; but I may here take the opportunity of recording Beethoven's opinion of him. Among all the masters who have written for the pianoforte, Beethoven assigned to Clementi the very foremost rank. He considered his works excellent as studies for practice, for the formation of a pure taste, and as truly beautiful subjects for performance. Beethoven used to say,—"They, who thoroughly study Clementi, at the same time make themselves acquainted with Mozart and other composers; but the converse is not the fact."

[111] With few exceptions, the Sonatas were all composed at the two periods alluded to.

[112] The happy state of feeling by which Beethoven was at this time animated inspired him with the idea of setting to music, with full orchestral parts, Schiller's "Lied an die Freude."

[113] The reader will recollect an anecdote of Beethoven and his brother, relative to a circumstance which occurred on New Year's Day, 1823, together with the New Year's Day card.

[114] This calls to mind the fact related by Ries, in his Notizen, p. 107, in reference to the direction he received, when in London, from Beethoven:—"At the commencement of the Adagio in the Sonata, Op. 106, place these two notes for the first bar." Ries expresses great astonishment at the effect produced by the two notes.

[115] That this maxim admits, in our unpoetic and superficial age, of a much more extended application than it did in former times, must be with regret acknowledged by every unprejudiced observer of the modern phenomena in the region of art. Twenty or thirty years ago, great musical talent, enjoying the good fortune of being directed by able instruction, might easily have attained the highest degree of cultivation, there being then no reason to fear those seductive and slippery paths of the musical career, whereby distinguished talent is now so often led astray. A period not yet more remote than twenty or thirty years ago, was favourable to the development of faculties like those of the Countess Sidonie of Brunswick, in Pesth, of whom mention has been made in the Second Period. The present age repeats with enthusiasm the name of "Clara Wieck,"{*****} who for versatility of talent will not easily find a rival among her own sex. But talent which is to be judged by the tribunal of public opinion, if it do not render homage to the taste of the age, must at least show deference to it, and thereby lose its genuine artistical purity. This purity of taste is to be looked for only in dilettanti, who always keep in view the ideal beauty of pure unperverted truth of feeling, because their talents are exercised only in a small circle of musical friends of their own choice. Such persons, however, always remain mere dilettanti, as they do not cease to fulfil those duties which their domestic or other social relations demand, and which, by a prudent distribution of time, are easily rendered compatible with study in any situation in life. It is only on these conditions that their efforts in art, when they rise far above the common level, will win the admiration and approval of all truly cultivated artists.

{*****}Now Mad. Schuman.—ED.

[116] So far as my observation goes, it inclines me to dissent from this opinion. Not only are the new editions of Beethoven's works substantial evidences that his magnificent and various talent finds an increasing number of worshippers among the amateurs of Europe, but there are few of the distinguished Solo players of the day, who do not seek to recommend themselves by acquaintance with his music, and public and private performances of it. In new countries and circles, moreover, is the taste for it rapidly spreading: I may instance London and Paris, where it is now deeply studied by the profession, and eagerly sought after by the public.—ED.

[117] Matheson's "Vollkommener Kapell-meister" was published at Hamburgh, in 1739.

[118] There is so much intrinsic spirit and value in Beethoven's orchestral works, that it is beyond the power of occasional mistakes or exaggerations in tempo, on the part of the players, to convert them into common prose. In England, certain movements are frequently taken too slow; in France, others too quick—according to my recollection of the tempo as given to the orchestra by the composer when he conducted—still without the metamorphosis taking place.—ED.

[119] The reader may deem it not uninteresting to be made acquainted with Mozart's opinion with reference to the unsatisfactory manner in which his compositions were sometimes performed. In the Biography published by H. von Nissen and Mozart's widow, we find, at p. 27, the following passage:—"Mozart complained bitterly of the injury which his compositions frequently sustained by faulty performance, especially by a too great acceleration of the tempo. They think that this rapidity imparts fire to the composition; but truly if there is not fire in the music itself, it can never be galloped into it." (These were Mozart's own words.)

[120] The structure and extent of the hall of the great Imperial Ridotto at Vienna, in which the concerts of the Musical Society are held, renders a powerful orchestra necessary.

[121] This was the exact number of performers on the occasion when his Symphonies were first brought forward.—ED.

[122] The metronomic sign may be compared to a paragraph of a code of laws which is cited as an authority for the decision in some particular case. The dictating movement of the metronome facilitates a just comprehension of a musical composition. A correct metronomic direction leads the intelligent musician by the right path into the spirit of the music; whilst an erroneous indication of the time leads him very far astray in his endeavours to seize that spirit.

[123] By way of excepting my self from the sweeping censure here bestowed upon all who have attempted to fix the metronomic signs to Beethoven's compositions, I hope I may be permitted to state, that in superintending for Messrs. Cramer and Co. the new edition of his works, and in metronomising the several compositions, I have not merely listened to my own musical feelings, but been guided by my recollections of what I gathered from Beethoven's own playing, and that of the Baroness Ertman, whom I have heard perform many of his works in his presence, and to his entire satisfaction, at the musical meetings alluded to by M. Schindler in this work, vol. i, p. 183, and at Mr. Zmeskall's. In some of the quick movements I have purposely refrained from giving way to that rapidity of piano-forte execution, so largely developed at the present time. It is with satisfaction that I add, that the tempi I have ventured to give differ very slightly from those affixed to Haslinger's Vienna edition, by Carl Czerny, whom I consider to be a competent authority in the matter.—ED.

[124] Did not M. Schindler, in page 119 of this volume, more duly appreciate the merits of Liszt than the reader might infer from the above, I should gladly avail myself of this opportunity to do homage to the amazing talent of that artist.—ED.

[125] I cannot calmly submit to be put under this ban, but rather stand up and defend my metronomic Signs of the Op. 27, as well as of all the others in the edition.—ED.

[126] In this angry denunciation against metronomising M. Schindler goes too far. The musical world knows, that marking the time by a metronome is but a slight guide for performers and conductors. Its object is to show the general time of a movement, particularly at its commencement; but it is not to be followed strictly throughout; for no piece, except a march or a dance, would have any real life and expression, or light and shade, if the Solo performer, or the orchestra under its conductor, were strictly to adhere to one and the same tempo, without regard to the many marks which command its variations. (See M. Schindler's own subsequent words on this subject, pp. 116 and 117.) The player or conductor, who enters into the time and spirit of the piece must feel when and where he has to introduce the necessary changes: and these are often of so delicate a nature, that the marks of the metronome would become superabundant, not to say impossible. This duly considered, the differences in the metronomic signs here denounced will be found too trifling to draw forth such animadversions.—ED.

[127] In Op. 27 both title and dedication vary from the mode in which they are given by the composer. The following are the words written by Beethoven, which refer specially to No. 1:—"Sonata quasi Fantasia, dedicata alla Madamigella Contessa Giulietta di Guicciardi."

[128] This reasoning seems to me somewhat void of logic, since the same spirit which would urge M. Schindler's "most fashionable" piano-forte player to exceed the tempi of Beethoven's Sonatas, would prompt him also to play the above-mentioned Studies with such a degree of celerity as must enable him to be prepared for the difficulties, at prestissimo speed, of the great master's Sonatas.—ED.

[129] Beethoven himself?—ED.

[130] I shall presently have occasion to quote a remark of Beethoven's, in which the above words occur.

[131] "The tempo of the Sonata, fixed by Maelzel's metronome, you shall have by next post," says Beethoven, in his letter of the 30th of April. Why not have sent it with the manuscript of the music? It was a mechanical occupation, and Beethoven was not inclined to turn to it on that day. Unfortunately, he was not better disposed to set about it before the departure of the following post.

[132] The reader will recollect Beethoven's letter to Moscheles, dated March 18th, 1827, alluded to in the third period. In that letter he enclosed the metronomic signs for the Ninth Symphony, after the Symphony to which those signs belonged had been some time in London.

[133] If Beethoven, though acknowledging the useful adaptability of the metronome, was, nevertheless, frequently undetermined, and, by twice fixing metronomic signs to the same works, contradicted himself, it merely shows that he was influenced by the musical feeling of the moment. Another proof that two different musicians, like Czerny and myself, could naturally hardly fail to deviate slightly in pointing out the tempo of Beethoven's works. His saying here quoted, "Better no metronome!" is no proof that he wished to abolish its use, but that he only feared that it might be insufficient to determine the rate of movement in its different variations.—ED.

[134] See my note, p. 100.—ED.

[135] With regard to pianoforte playing, Beethoven always inculcated the following rule:—"Place the hands over the key-board in such a position that the fingers need not be raised more than is necessary. This is the only method by which the player can learn to generate tone, and, as it were, to make the instrument sing." He abjured the staccato style, especially in the performance of phrases, and he derisively termed it "finger-dancing," or "manual air-sawing." There are many passages in Beethoven's works which, though not marked with slurs, require to be played legato. But this a cultivated taste will instinctively perceive.

[136] I agree with M. Schindler in these remarks. The slight deviations of time recommended must give life and expression, not only to this movement, but also to the imaginative compositions of all the great masters.

Their success, however, can only be assured by intimate acquaintance on the part of the band with the manner of the conductor, and his mode of conveying his intentions, either from long intercourse or careful rehearsals.—ED.

[137]?!—ED.

[138] See Score, p. 3.

[139] See Score, p. 23.

[140] Will it be believed in Vienna that Beethoven's Symphonies were assiduously practised from twelve to sixteen months, and the Ninth Symphony, with Schiller's Ode to Joy, full two years, in the Conservatoire of Paris, before they were performed in public? This is a fact. It is also a fact that on occasion of the first performance of this Ninth Symphony, in 1824, at the Kärnthner-Thoe theater, Beethoven could obtain no more than two rehearsals, because the orchestra was engaged in rehearsing a new Ballet. Remonstrances and entreaties, on the part of Beethoven, for a third rehearsal, which he considered necessary, proved unavailing. He received for definitive answer—"Two rehearsals will be quite sufficient." What will the professors of the Paris Conservatoire, and M. Habeneck, the leader, say to this?

[141]

Immediately underneath were the following remarks in Beethoven's handwriting:—"One might reserve a right occasionally to alter or to fix new prices. If the above are meant merely for Austria, or (at most) France, and England is left to me, they might be accepted. In regard to several items, one might retain the right of fixing the price oneself. As to the publication of the complete works, England and France should perhaps be reserved for the author. The sum to be paid by the publishers would be 10,000 florins, Vienna currency. As they wish also to treat for the publication of the complete works, such a contract would, in my opinion, be the best." ... "Perhaps stand out for London and Paris, and write to Schlesinger on the subject."

[142] See Beethoven's facsimile in the original German, of which the above is a translation. No. I.

[143] I remember, after having been for some time resident in England, in the course of a conversation with Beethoven, at his house in Vienna (in November, 1823), asking him in writing (then the only mode of communication with him), "How is the Archduke Rudolph?" He answered abruptly, "He is quietly tending his sheep at Olmütz" (Er hütet seine Schafe in Olmütz)—an allusion to the Archduke's Cardinalship.

The same conversation was remarkably interesting to me, as affording me many proofs of the extreme interest Beethoven took in the diffusion of his works in England, and the fondness with which he cherished the idea of himself directing their performance and witnessing their popularity in that country. He asked me many minute questions about the state of the orchestras, and the organization of the different musical societies of London.—Ed.

[144] With respect to most of the arrangements of Beethoven's works for two or four hands, especially his Symphonies, it is curious to imagine the destruction which the great master would have dealt among them, had he lived to see them. He would have waged war against them with fire and sword, and none would have been spared except those of Watts and Hummel. These Beethoven pronounced to be the best pianoforte arrangements of his works. As to the other arrangers, one of them has copied half of the score, and by this means burdened the performer with difficulties, which, on the pianoforte, owing to the homogeneous tone of the instrument, are useless, and frequently undistinguishable, whilst they obstruct the free flow of the melody, and, by fatiguing both the eyes and fingers of the player, render him incapable of following the spirit and soul of the music. Another of such arrangers, or, to speak more correctly, derangers, deserves to have his knuckles rapped for the liberty he has taken in making essential omissions and additions, with the view of improving Beethoven's music. M. Simrock would render a gratifying tribute to the memory of Beethoven, by engaging M. Watts to arrange all the Symphonies. By his arrangement of the fourth and sixth Symphonies, Watts has shown that he is more capable than any other of executing that difficult task in a spirit congenial with the composer's intention.

[145] Beethoven did not receive Rossini, though the latter called on him no less than four times. I shall make no comment on this fact, further than to observe that I wish Beethoven had not thus acted.

[146] The resolution thus hesitatingly formed. An effort of inspiration. "Must it be?" "It must be!"

[147] A kind of fish resembling the haddock, caught in the Danube.

[148] "Beethoven Studien," p. 26.

[149] Ries, in his "Notizen," p. 124, sets forth at length the reasons for these doubts.

[150] This fully proves that Beethoven always showed more contrition than his fault could warrant. The cause of the altercation is not mentioned in Wegeler's Notizen, from which these letters are extracted.—ED.

[151] This work was the Variations on Mozart's Figaro, "Se vuol ballare." (Dunst, 4th part, No. 27.) He afterwards dedicated a Sonata, or rather Sonatina, to her, which appeared in Dunst's edition, 1st part, No. 64.

[152] Barbara Koch, afterwards Countess Belderbusch, an intimate friend of Madame von Breuning, a lady distinguished alike in all the qualities which can adorn the mind of woman. She was surrounded not only by men of the highest talent—such as Beethoven, Romberg, Reicha, &c.—but science as well as rank did homage to her brilliant qualities.

[153] Afterwards Count of Marienstadt, and a classical writer.

[154] Angola rabbits, or silk hares.

[155] A shake is carried on through several bars with alternate fingers, whilst three fingers are employed besides. The fingering is marked.

[156] Beethoven complained to me of this musical espionage. He named to me the Abbé Gelinek, that most fertile writer of Variations, who always quartered himself in his vicinity. This might have been the cause of Beethoven's always choosing lodgings in a square or on the ramparts.