THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 l|EXLlBMS|if 111
 
 THE LIFE 
 
 OF 
 
 BEETHOVEN, 
 
 INCI.VDING HIS 
 
 CORRESPONDENCE WITH HIS FRIENDS, 
 
 NUMEROUS CHARACTERISTIC TRAITS, 
 AND REMARKS ON HIS MUSICAL WORKS. 
 
 EDITED BY 
 
 IGNACE MOSCHELES, Esq., 
 13tani8t to fits Kogal lljigljncss ^rititt albeit. 
 
 IN TWO VOLUMES. 
 VOLUME II. 
 
 LON DON : 
 HENRY COLBURN, PUBLISHER, 
 
 13, GREAT MARLBOROUGH STREET. 
 
 1841.
 
 LONDON. 
 
 Priuted by William Clow£s an<l SoKs, 
 
 Stamford Street.
 
 LIBRARY 
 
 c 
 
 CONTENTS 
 
 SECOND VOLUME, 
 
 THIRD PERIOD. 
 
 PART III. 
 
 [From 1824 till Beethove.n's Death in 1827.] 
 
 P.VGli 
 
 Oratorio contemplated by Beethoven — The Geniian 
 and Itahan Opera at Vienna— Memorial addressed 
 to Beethoven — Results of his Concert at the Hof- 
 Theater — Mademoiselles Sontag and Ungher — Beet- 
 hoven's distrustful Disposition — Invited to visit 
 EnglanH — Proposition from the Philharmonic Society 
 
 — His Arrangements with a Russian Prince — His 
 Itesidence near Schbnbrunn — His Tllnp<^g — HeuUs- 
 Jiiisg.:i. of _somejof his Works— His adopted Nephew 
 — Extracts from Beethoven's Letters to him — Beet- 
 hoven's Physicians — His ^Suffe rings — lie writes to 
 Mr. Moscheles — Generosity of the Philharmonic 
 Society — Beethoven's Property — His death — Pre- 
 parations for the Funeral — Conformation of his 
 Skull 1 
 
 MUSICAL OBSERVATIONS. 
 
 Intended Edition of Beethoven's Piano-forte Sonatas 
 
 — Causes for his relinquishing the design — Project 
 of an Edition of his complete Works— Visionary 
 
 43i:3(;4
 
 IV CONTENTS. 
 
 PAGK 
 
 hopes excited by it — Metamorphosis of Beethoven's 
 Instrumental Music— Importance of a right concep- 
 tion of the Tempo — Metronomic Signs — Injury done 
 to Beethoven's Music by raetronomising— Exempli- 
 fied in the Moonlight Sonata — Metronomic directions 
 condemned — Performance of Beethoven's Works in 
 Paris — Hints furnished by Beethoven relative to the 
 composition of his Sonatas, and the proper style of 
 their performance — His own Style of Playing — Ef- 
 fects intended to be given by him to his Symphonies . 
 — Neglect of his Works . . . . .80 
 
 CHARACTERISTIC TRAITS AND PECULIARI- 
 TIES OF BEETHOVEN. 
 
 Beethoven's Religious Principles — His dislike of giving 
 Lessons — His Frankness, and, at the same time. 
 Dexterity in evading Questions — Vindication of him 
 from the charge of Discourtesy to Brother Artists — 
 Proofs that, though a rigid, he was a justCi'itic — 
 Kind Encouragement afforded by him to Profes- 
 sional Merit — his modest Appreciation of Himself — 
 His extempore Playing — His everyday Occupations 
 — Propensity for Dabbling in Water — Pensions — 
 Certificates — Beethoven erroneously compared with 
 Jean Paul Ricbter — Mortifying Trick played by -him 
 at the instigation of a Friend — Motivo of a Move- 
 ment in one of his Quartetts — His Peculiar Habits 
 in Eating and Drinking — Extent of his Knowledge 
 of Languages — Comments on Statements of M. von 
 Seyfried relative to Beethoven's domestic Habits — 
 Spurious MSS. attributed to him — His Person — 
 Portraits of him . . . . . .162
 
 CONTENTS. V 
 
 SUPPLEMENT. 
 
 PAOE 
 
 Beethoven's Letters to Madlle. vou Breunin<^, Wege- 
 
 ler, and Ries . . . . . . .199 
 
 Beethoven's Correspondence with Messrs. Neate and 
 
 Ries 22 7 
 
 Account of a Concert given by Beethoven at the 
 
 Kaernthnerthor Theatre, Vienna . . .275 
 
 Characteristics of Beethoven fromWegeler and Ries's 
 
 " Notizen" 283. 
 
 Additional Characteristics, Traits, and Anecdotes of 
 
 Beetlioven 309 
 
 Beethoven's Last Moments . . . . .318 
 Funeral Honours to Beethoven .... 328 
 
 Miserere, Amplius, Libera, for four Voices, with an 
 
 Organ Accompaniment . . . . .33 7 
 
 Concert in aid of Beethoven's Monument at Drury 
 
 Lane Theatre, July 19, 1837 . . . .365 
 
 Sale of Beethoven's MSS. and Musical Library . 373 
 
 Systematic Catalogue of all the original Works of 
 
 Beethoven, published by T. Haslinger, from Vienna 377 
 Moschelesi' complete Edition of Beethoven's Works, 
 
 published by Messrs. Cramer and Co. . . . 385
 
 LIFE 
 
 OF 
 
 BEETHOVEN. 
 
 THIRD PERIOD. 
 PART III. 
 
 [From 1824 till Beethoven's Death in 1827.] 
 
 Oratorio contemplated by Beethoven — The German and 
 Italian Opera at Vienna — Memorial addressed to Beet- 
 hoven — Results of his Concert at the Hof-Theater — 
 Mademoiselles Sontag and Ungher — Beethoven's dis- 
 trustful Disposition — Invited to visit England — Proposi- 
 tion from the Philharmonic Society— His Arrangements 
 with a Russian Prince — His Residence near Schonbrunn 
 — His Illness — He disposes of some of his Works — His 
 adopted Nephew — Extracts from Beethoven's Letters to 
 him — Beethoven's Physicians — His Sufferings — lie 
 writes to Mr. Moscheles — Generosity of the Philhar- 
 monic Society — Beethoven's Property — His death — Pre- 
 parations for the Funeral— Conformation of his Skull. 
 
 The Ninth Symphony was finished, and 
 Beethoven now proposed to devote his atten- 
 tion, without delay, to a work worthy of his 
 powers — the composition of an Oratorio, 
 ^vritten by his friend C. Bernard, and en- 
 
 VOL. II. B
 
 a LIFE OF BEETHOVEN. 
 
 titled " The Victory of the Cross ^ From 
 this work he anticipated much pleasure, as 
 he was satisfied with the poetry — a point 
 in his estimation of no little moment — 
 when an occurrence took place that deserves 
 to be circumstantially related, as well on 
 account of its importance to the history of 
 art, as because, in relation to Beethoven, its 
 consequences Avere interesting. 
 
 The Italian Opera in Vienna had now for 
 some years possessed itself of those halls 
 devoted to the melodious art, which in the 
 time of Gluck had been exclusively oc- 
 cupied by German music ; and although, 
 for the last ten years, the tendencies exhi- 
 bited by the musical world had been rather 
 towards the sensual and the material, yet, in 
 the main body of the Vienna public, a noble 
 spirit was stirring, which it would never 
 have been possible to exclude, or rather to 
 expel, from its native soil, had there only 
 existed a determination firmly to uphold 
 what was of native growth. 
 
 The German Opera had still among her
 
 LIFE OF BEETHOVEN. 6 
 
 votaries devoted adherents, who, by holding 
 manfully together, might long have resisted 
 the force of prevalent error, and saved the 
 edifice from destruction. 
 
 A former administration does not seem to 
 have duly understood the demands of the 
 time, so as, while cautiously yielding to them 
 to a certain extent, to have, nevertheless, 
 retained all that was essential. The public, 
 therefore, became impatient, and the first 
 Italian Solfeggio that was heard within 
 those walls sounded like the signal of banish- 
 ment to the German Opera. The violence of 
 the current carried every one along with it. 
 No one asked in what direction he was borne, 
 for all Avere enchanted, intoxicated, with the 
 roulades of the Rossini school. Few, indeed, 
 were they, who could resist the force of such 
 a stream, and preserve in all its purity their 
 taste for the truly beautiful and ideal in art ; 
 but to this little band German music is 
 deeply indebted ; for its warning voice by 
 degrees brought back many a wanderer to 
 the right path. 
 
 b2
 
 4 LIFE OF BEETHOVEN. 
 
 How, then, did all this affect Beethoven ? 
 As monarch in his own domain, he was 
 almost as much forgotten by the crowd as if 
 he had never existed ; and no other mark of 
 distinction was conferred upon him than the 
 manifestation of outward respect, even by 
 persons of the highest rank, whenever he 
 made his appearance. How deeply he felt 
 this ominous state of things, and how much it 
 Aveighed upon his mind, was proved by his 
 more than ordinary seclusion, as well as his 
 determination to bring out the two new 
 works, the Mass, and the Ninth Symphony, in 
 Berlin. The report of this intention induced 
 a small number of artists and friends of art 
 to make an effort to avert from the imperial 
 city the threatened disgrace ; and they, in con- 
 sequence, addressed to Beethoven a memorial, 
 of which, on account of the interest of its con- 
 tents, I will here give a faithful transcript : — 
 
 " To M. Ludwig van Beethoven. 
 
 " A small number of tiie disciples and 
 lovers of art, from the wide circle of admirers
 
 LIFE OF BEETHOVEN. O 
 
 of your genius, in your adopted city, present 
 themselves before you to-day, in order to give 
 utterance to wishes long felt, and to prefer a 
 request whicli they have long hesitated to 
 make. 
 
 " Although the number of speakers bears 
 but a small proportion to that crowd, who 
 are sensible of your worth, and joyfully ac- 
 knowledge what you have done for the pre- 
 sent and future time, yet their wishes and 
 requests are by no means confined to the 
 speakers, but shared by all to Avliom art and 
 the realization of the ideal are more than 
 a means of passing away an idle hour. Their 
 wish is the wish also of a countless number, 
 and their requests are repeated, aloud or in 
 silence, by all whose bosoms are animated by 
 a sense of whatever is divine in music. 
 
 " The wishes of those who venerate art in 
 our native country are those which we would 
 more especially express to you at present ; 
 for, although the name and the creations of 
 Jjeethoven belong to every country where a 
 suscej»tibility to the beauties of art exists.
 
 b LIFE OF BEETHOVEN. 
 
 Austria may yet boast of the nearest claim 
 to them. Among her people a due sense of 
 the value of the great and immortal works of 
 Mozart and Haydn, produced within her bo- 
 som, is not yet dead ; and with joyful pride 
 do they remember that the sacred triad, in 
 which your name and theirs appear as the 
 symbol of whatever is highest in the spiritual 
 realms of music, sprung from the soil of their 
 father-land. 
 
 " So much the more painful, however, must 
 it be to you to see that a foreign power has 
 invaded this royal citadel — that above the 
 graves of the departed, and within the 
 dwelling-place of the only one of this band 
 that is still left us, productions are taking the 
 lead, which can boast of no relationship with 
 the princely spirits of the house ; shallowness 
 usurping the name and symbol of art, and 
 an unworthy sporting with what is holy 
 darkening and effacing the sense of truth and 
 everlasting beauty. 
 
 " More than at any former time, therefore, 
 do those Avho now address you feel a lively
 
 LIFE OF BEETHOVEN. 7 
 
 conviction, that the one thing needful at the 
 present moment is a new impulse from a 
 powerful hand — a new appearance of the 
 sovereign within his own domain. This ne- 
 cessity it is which brings them to you to- 
 day, and the following are the requests which 
 they now prefer to you in the name of native 
 art and of all to whom it is dear. 
 
 " Withdraw no longer from the public en- 
 joym^ent, — deny no longer to our sense of what 
 is great and perfect the performance of the 
 latest masterpiece of your hand. We know 
 that a valuable composition in church-music 
 has been produced, to succeed that in which 
 you have immortalised the sensations of a 
 soul, penetrated by the power of faith and 
 illumined by the divine rays of genius. We 
 know that a new flower blooms in the garland 
 of your magnificent and unequalled Sym- 
 phonies. For years, since the thunders of 
 the Victory of Vittoria ceased to sound, have 
 we anxiously hoped to see you pour out again, 
 in a circle of kindred spirits, fresh gifts from 
 the abundance of your wealth. Disappoint 
 no longer the expectations of your friends ;
 
 8 LIFE OF BEETHOVEN. 
 
 heighten the impression of your newest 
 creations by introducing us yourself to the 
 knowledge of them. Permit not these, the 
 youngest ofFsprmg of your genius, to appear 
 one day as strangers in the place of their birth 
 — to fall, perhaps, into the hands of those 
 whose minds are foreign to yours. 
 
 " Appear, then, once more in the circle of 
 your friends, your admirers, your venerators ; 
 this is our first and most urgent request. 
 
 " Other claims on your talents, however, 
 have been openly put forward. The wishes 
 expressed and the offers made to you a year 
 ago by the Directors of our Court Opera, and 
 afterwards by the Society of Austrian Lovers 
 of INIusic, were shared and approved by too 
 many who respected your name, and were 
 concerned for the interests of art, not to have 
 quickly become public, and to have excited 
 universal interest. Poetry has done her part 
 to support these pleasing hopes and expecta- 
 tions, and worthy materials from a much- 
 esteemed poetical mind await only your 
 magic touch to charm them into life. 
 
 *' Let this summons to so noble a work not
 
 LIFE OF BEETHOVEN. » 
 
 be heard in vain. Delay no further to 
 transport us back to those long-departed days 
 when the power of Polyhymnia moved Avith 
 mighty spells alike the hearts of the multi- 
 tude and of the consecrated priests of art. 
 Need we say with what deep regret your late 
 retired mode of life has filled us ? Is any 
 assurance required that all eyes have been 
 turned towards you, and that all have seen 
 with sorrow that he, whom they acknow- 
 ledged as the highest of living men in his 
 own domain, should have looked on in 
 silence while our German soil has been 
 invaded by the footsteps of foreign art — the 
 seat of the German muse usurped — and Ger- 
 man works have become but the echo of those 
 of strangers ; threatening a second childhood 
 of taste to succeed its golden age ? You alone 
 are able to secure activity to the efforts of the 
 best among us. You alone can bestow new 
 life on national art and on the German 
 Opera ; bid them bloom once more, and 
 save the true and the beautiful from the 
 violence by which the fashion of the day 
 
 b3
 
 10 LIFE OF BEETHOVEN. 
 
 seeks to subject to itself their everlasting 
 laws. 
 
 " Suffer us, then, to hope for the speedy 
 fulfilment of the wishes of all to whom your 
 harmonies have penetrated. This is our 
 second and most urgent request. May this 
 year not pass without our being rejoiced by 
 witnessing tlie fruits of our entreaties, and 
 may the unfolding of one of those long-wished- 
 for gifts render the coming spring to us, and 
 to the whole world of art, a twofold time of 
 promise. 
 
 " Vienna, February, 1824. 
 
 (Signed) 
 
 " PRINCE C. LICHNOWSKY. 
 ARTARIA & CO. 
 V. HAUSCHKA. 
 M. Z. LEIDESDORF. 
 J. E. VON WAYNA. 
 ANDREAS STREICHER. 
 ANTON HALM. 
 ABBE STADLER. 
 FERD. COUNT VON PALFY. 
 EDWARD BARON VON SCHWEIGER. 
 COUNT CZERNIN, Chamberlain. 
 MORITZ COUNT V. FRIES. 
 J. F. CASTELLI.
 
 LIFE OF BEETHOVEN. 11 -^ 
 
 PROF. DEINHARDSTEIN. 
 
 CH. KUFFNER. 
 
 F. R. NEHAMMER. 
 
 STEINER VON FELSBURG. 
 
 MORITZ COUNT V. DIETRICHSTEIN. 
 
 IG. EDLER VON MOSEL. 
 
 KARL CZERNY. 
 
 MORITZ COUNT VON LICHNOWSKY. 
 
 VON ZMESKALL. 
 
 HOFRATH KIESEWETTER. 
 
 DR. N. SONNLEITHNER. 
 
 VON FELSBURG. 
 
 FERD. COUNT VON STOCKHAMMER. 
 
 ANTON DIABELLL 
 
 STEINER & CO. 
 
 LEDERER. 
 
 J. N. BIHLER." 
 
 The bearers of this memorial indulged the 
 expectation of receiving immediately from 
 Beethoven an assurance of his compliance 
 with the requests contained in it ; but in this 
 they were egregiously mistaken, for he de- 
 clined reading it till he should be alone. I 
 had been prevented from being present when 
 it was delivered to him, and arrived only 
 just as he had finished its perusal. He com- 
 municated to me the contents, and, after run- 
 ning them over once more, handed the paper 
 quietly to me ; then turning towards the win-
 
 12 LIFE OF BEETHOVEN. 
 
 dow, he remained some time looking up at the 
 sky. I could not help observing that he was 
 much affected, and, after I had read it, I laid 
 it down without speaking, in the hope that 
 he would first begin the conversation. After 
 a long pause, whilst his eyes never ceased fol- 
 lowing the clouds, he turned round, and said, 
 in a solemn tone w^hich betrayed his internal 
 emotion — " It is really gratifying ! — I am 
 much pleased." I nodded assent, and wrote 
 in the conversation-book that he must now 
 be convinced that he would meet with suffi- 
 cient support, if he would resolve to have the 
 two new pieces brought out soon at a con- 
 cert. To this course he had always declared 
 himself decidedly adverse, professing his con- 
 viction that, from the alteration which had 
 taken place in musical taste, and in the in- 
 toxicated state of the public mind, no sensi- 
 bility remained for what was truly great.* 
 
 * 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.
 
 LIFE OF BEETHOVEN. 13 
 
 Beethoven read what I had just written, 
 and then said, " Let us get into the open air." 
 When we were out, he appeared, contrary to 
 his custom, rather disposed to taciturnity, 
 but I remarked the glimmering of a latent 
 wish to comply with the well-meant requests 
 of his admirers. 
 
 After a good deal of discussion with one 
 and another, it was at last decided that the 
 works should be brought before the public — 
 but where ? This was a question hard to 
 answer, so that several weeks elapsed before 
 it could be settled, and I will venture to say 
 that the good people of Bonn were not so 
 much perplexed to decide on the })lace best 
 adapted for Beethoven's monument, and that 
 many an entangled political problem was 
 solved in less time at the Congress of 
 Vienna. 
 
 Since Beethoven had intrusted to me 
 alone the arrangement of the concert to be 
 given, I might, in speaking of the difficulties 
 I had to overcome, take occasion to mention at 
 length the numerous obstacles and intrigues.
 
 14 LIFE OF BEETHOVEN. 
 
 the many basely avaricious demands, and the 
 innmiierable tricks and machinations, of which 
 I became aware, but that it would lead me 
 too far from my subject. I will therefore only 
 observe, that, after a long debate, the place 
 chosen was the Hof-Theater at the Karnth- 
 ner Thor, but this did not advance the mat- 
 ter much. A new struggle was now to be 
 commenced with the manager, M. Duport, 
 who was no less zealous than the rest for the 
 interests of his theatre, and wished to make a 
 profit of Beetboven's undertaking. 
 
 When two flints had come into collision, 
 what results could be expected ? — especially 
 as neither one nor the other remained steady 
 to his first terms, but changed every day like 
 a weathercock. 
 
 At length, in order to be at least certain 
 of what were the wishes of one of the con- 
 tracting parties, we were obliged to have re- 
 course to the following stratagem : I begged 
 Count Lichnowsky and M. Schuppanzigh 
 to call on Beethoven at the same hour, as if 
 by accident, and to sound him with regaixl to
 
 LIFE OF BEETHOVEN. 15 
 
 his intentions. On this occasion we were to 
 endeavour to lead him to speak categorically 
 on the several points in discussion, and one 
 of us was immediately to write down what- 
 ever he should say, and then, half in jest, 
 half in earnest, call on him to sign it. 
 
 The plan succeeded to admiration, but 
 what was the consequence ? From the 
 whole procedure, Beethoven at length be- 
 came aware of our design, and, suspecting 
 as usual falsehood and treachery at the bot- 
 tom, despatched to us the following sultan- 
 like hatti-shenf : — 
 
 '* To the Count Moritz von Lichnowsky. 
 
 " I despise artifices. Let me have no more 
 of your visits. The Academy (the Concert) 
 will not take place. 
 
 " Beethoven." 
 
 " To M. Schuppanzigh. 
 
 " Let me see you no more. 1 shall give 
 no Academy. 
 
 " Beethoven." •
 
 16 LIFE OF BEETHOVEN. 
 
 " To M. Schindler. 
 
 " Do not come near me again till I send 
 for you. No Academy. 
 
 " Beethoven." 
 
 Fortunately Beethoven did not send us the 
 silken cord along with these missives, so we 
 all three remained in the land of the living. 
 We suffered his anger to evaporate, and in 
 the mean time assisted each other to do the 
 hest that we could for him. 
 
 Towards the end of April, Beethoven one 
 day wrote to me in an angry mood : — " After 
 these six weeks' squabbling about this and 
 that, I feel absolutely boiled, stewed, and 
 roasted. What is to be done at last about 
 this much-talked-of Concert ? Unless the 
 prices are raised, what will remain for me 
 after so many expenses, since the copying- 
 alone has cost so much ? " 
 
 It will appear from this, that the principal 
 point in discussion was concerning the rais- 
 ing the prices of admission. If Beethoven 
 wished to get back the money that he had
 
 LIFE OF BEETHOVEN. 17 
 
 already expended, he must after all, nolens 
 volens, submit to the demand of the manager, 
 which was, that the Concert should take place 
 in the theatre, on a subscription-night, at the 
 ordinary prices ; and that, for the use of it, 
 as well as of the Chorus and Orchestra, the 
 administration should receive the sum of one 
 thousand florins, Vienna currency. There was 
 no help for it. It was now — " Beethoven, 
 submit to your fate." 
 
 The Concert took place on the 7th of May, 
 1824. The house was filled to overflowing. 
 The gross receipts were 2220 florins ; of which, 
 subtracting 1000 for the theatre and 800 for 
 the copying, there remained for Beethoven 
 420 florins. Every box was crammed, with 
 the single exception of the Emperor's, which 
 remained empty, although Beethoven had 
 gone in person, in my company, to make 
 the invitations to all the members of the Im- 
 perial family then in Vienna, and some of 
 the illustrious personages had promised to 
 attend. When the time came, however, the 
 Emperor and Empress were on a journey, and
 
 18 LIFE OF BEETHOVEN. 
 
 the Archduke Rudolph was in Olmiitz ; so 
 that our great master was obliged to shift with- 
 out the countenance of the Imperial court. 
 
 These were the immediate results of the 
 concert. The details of the further conse- 
 quences to Beethoven I may be permitted to 
 pass over for the present, as I shall have 
 much worse to notice in the sequel ; but I 
 cannot forbear mentioning some facts con- 
 nected with the rehearsal of the vocal parts of 
 the two works above alluded to. 
 
 It will perhaps be remembered that, in 
 speaking of the performance of Fidelio, in 
 the second period, I observed that Beethoven 
 was in the habit of paying little attention to the 
 possibility of the execution of what he wrote 
 for the vocal parts. Innumerable proofs of 
 this assertion may be found again in the 
 second Mass and in the ninth Symphony, 
 which, during the rehearsals of the chorus 
 and solo parts, led to many unpleasant dis- 
 cussions. With due deference for the master, 
 it was not possible to avoid telling him that 
 this and that passage could not be sung. The
 
 LIFE OF BEETHOVEN. 19 
 
 two ladies, Mademoiselle Sontag and jNIade- 
 meiselle Ungher, who undertook the soprano 
 and alto solos, came several times to practise 
 them at Beethoven's house, and made the 
 remark to him beforehand.* 
 
 * 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 
 
 E 
 
 -, or 
 
 ffi 
 
 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 re- 
 vival by the Philharmonic Society (April 17th, 1837), I 
 found similar difficulties in other parts of the vocal move- 
 ment. An imperfect execution of these was to be appre- 
 hended, derogatory to the general eflFect. I coiisidered 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. 
 
 SOLO
 
 20 
 
 LIFE OF BEETHOVEN, 
 
 SOLO VOICES. 
 
 Soprano. , i^, -*! * f^i 
 
 ORIGINAL. 
 
 ALTERATION. 
 
 
 Tenore. -,•- 
 
 -41«-^j-Je^:j^V 
 
 
 •^* The passages marked with a *, and inserted in small notes, indicate the 
 high notes alluded to. — Ed.
 
 LIFE OF BEETHOVEN. 
 
 21 
 
 jt- _ jt: -Q. 
 
 Chorus. 
 
 r— t— t— 
 "^ ^ i^ ^ 
 
 Lm- ^-0 9 
 
 9 A A 
 
 E*Et 
 
 -tf 
 
 eee; 
 
 l: 
 
 
 Chorus. 
 
 :pzzipzz:p=ip 
 
 ■ t — t 
 
 I I I 
 
 
 i> 
 
 -t^:i=ii*=:^: 
 
 -0 
 
 «N ^ *n ^ *«• 
 
 -tta-*^'— "^-r 
 
 
 f="f=f=i'=
 
 LIFE OF BEETHOVEN. 
 
 /^ _ ^ ^ ^ ' 
 
 jj-glil 
 
 W J 
 
 -^J -J 
 
 f 
 
 :\=:ci 
 
 fi^^- 
 
 .-N ,> ^* r, 
 
 =lz=f:=x: 
 
 
 feFF=F=F 
 
 i 
 
 
 -,<= :^ 
 
 f^ 
 
 r 
 
 v— M- 
 
 
 
 JVJ2. -ij^-=^- -^:^J 
 
 r— " 
 
 
 i 
 
 
 -hi- 
 
 w 
 
 ^t 
 
 ^ 
 
 ^ rn jN > I 
 
 ai 
 
 7tt 
 
 ^, 
 
 ■i>-* L j \ j — • — b- 
 
 
 t 
 
 t-- 
 
 £E^EEE3 
 
 ^ This is the very part I did alter, as shown in the above illustration ; for 
 if, as the sequel shows, a Sontag had perseverance and means sufficient to work 
 it out, the same could not be expected from every singer, and least of all from 
 the Chorus, which repeats the same passage after the Solo performers. — Ed.
 
 LIFE OF BEETHOVEN. 23 
 
 JMlle. Ungher did not hesitate to call him 
 the tyrant of singers, but he only answered, 
 smiling, that it was because they were both so 
 spoiled by the modern Italian style of singing 
 that they found the two new works difficult * 
 " But this high passage here," said Sontag, 
 pointing to the vocal Quartett in the Sym- 
 phony, 
 
 Kiisse gab sie uns und Reben — 
 
 " would it not be possible to alter that ?"' — 
 " And this passage, JM. van Beethoven," con- 
 tinued JMademoiselle Ungher, " is also too 
 high for most voices. Could we not alter 
 that?" — " No! no! no!" was the answer. f 
 — " Well then, for Heaven's sake (in Gotfes 
 Namen), let us work away at it again," said 
 the patient Sontag. 
 
 * He was in a measure right, for, what with fioriture and 
 roulades, the true Cantabile style had until then remained 
 to these two ladies. 
 
 t 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.
 
 24 LIFE OF BEETHOVEN. 
 
 As for the poor Soprani, in the chorus parts 
 of the Mass, every day did they complain to 
 Beethoven that it was out of their power to 
 reach and sustain the high notes so long as 
 he prescribed. In some places the tyrant 
 remained inexorable, though it would have 
 been easy for him, by a transposition of some 
 of the intervals, to render those passages 
 easier for the voices, without altering any- 
 thing essential. Umlauf, the most strictly clas- 
 sical conductor I have ever known, to whom 
 Beethoven had committed the management 
 of the whole, also made some modest remarks 
 on this difficulty, but equally in vain. The 
 consequence of this obstinacy was, that every 
 chorus-singer, male and female, got over the 
 stumbling-block as well as he or she could, 
 and, when the notes were too high, left them 
 out altogether.* 
 
 * In this they were not in the wrong. As to the saying, 
 ^' jurare in x'erba magistrij" I am of opinion that it would 
 be better to spoil the eflfect 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
 
 LIFE OF BEETHOVEN. 25 
 
 The master, however, standing in the midst 
 of this confluence of music, heard nothing of 
 all this, was not even sensible of the tumultu- 
 ous applause of the auditory at the close of the 
 Symphony, but was standing with his back to 
 the proscenium, until Mademoiselle Ungher, 
 by turning round and making signs, roused 
 his attention, that he might at least see 
 what was going on in the front of the house. 
 Tliis acted, however, like an electric shock 
 on the thousands present, who were struck 
 with a sudden consciousness of his misfor- 
 tune ; and, as the flood-gates of pleasure, 
 compassion, and sympathy Avere opened, there 
 followed a volcanic explosion of applause, 
 which seemed as if it Avould never end.* 
 
 This success, such as had never been wit- 
 nessed in those venerable halls of art, induced 
 the speculative manager of the theatre to 
 
 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. 
 
 * For an account of this Concert see Supplement, No. 
 TIL, Vol, 11. 
 
 VOL. II. C
 
 26 LIFE OF BEETHOVEN. 
 
 propose a repetition of the new works, (with 
 the exception of four numbers of the Mass,) 
 securing, before-hand, to Beethoven 500 flo- 
 rins Vienna currency (1250 francs). The 
 manager offered to take on himself all ex- 
 penses, but claimed all the surplus receipts. 
 Discouraged by the small profit of the first 
 concert, (420 florins, paper currency,) Beet- 
 hoven, for a long time, would not agree to 
 this, but was at length necessitated to comply. 
 In the latter part of the month of May, ac- 
 cordingly, the repetition took place in the 
 imperial assembly-rooms {Redouten-Saal) ; 
 the four movements of the Mass, however, 
 Kyrie, Credo, Agnus Dei, and Dotia nobis 
 pacem, which were the only parts of the JMass 
 performed at the first concert, were destined 
 to be omitted, though Beethoven protested 
 strongly against it. In place of them the 
 Italian roulade-monger, Signor David, sung 
 the favourite Cavatina " Di tantl palpiti," in 
 spite of the outcry of all the purists ; and 
 Sontag gave innumerable fioriture of Mer- 
 cadante's. Of Beethoven's music, besides
 
 LIFE OF BEETHOVEN. 27 
 
 the nintli Symphony, tlie Terzetto Tremate, 
 empi tremate,"^ by Italian singers, and the 
 grand Overture in C major, with the double 
 fugue, were also performed. 
 
 The pecuniary result of these manifold exer- 
 tions was, that the manager had the pleasure 
 of paying 800 florins towards the expenses, as 
 the house was not half full, and that Beet- 
 hoven, deeply vexed at this unexpected result, 
 declined at first to accept the 500 florins 
 guaranteed to him, and was with much difii- 
 culty at last prevailed upon to take the 
 money. Tlie most complete ill humour took 
 possession of him, so that he was no longer 
 accessible to any one, and it was increased by 
 the gossiping tittle-tattle of certain persons, 
 who put it into his head that he had been 
 cheated at the first concert, and thus excited 
 his suspicions, especially against me. At a 
 dinner, which he gave a few days afterwards 
 to the two directors of his concert, JMessrs. 
 Umlauf and Schuppanzigh, and to me, in 
 the Prater, he could no longer restrain his 
 anger, but declared that he had been in- 
 
 c2
 
 28 LIFE OF BEETHOVEN. 
 
 formed that I, in conjunction with the 
 manager, M. Duport, had defrauded him. 
 It was in vain that our two companions 
 endeavoured to convince him that, as every 
 piece of money had passed through the hands 
 of the two cashiers of the theatre, and their 
 accounts of the receipts exactly corresponded, 
 a fraud on either side was out of the question : 
 he refused to retract his charge, and I con- 
 sequently withdrew immediately, in company 
 with M. Umlauf, and did not see Beethoven 
 again till the month of November, when he 
 called upon me at the theatre in the Joseph- 
 stadt, where I was acting as music-director, 
 and begged that what had passed might be 
 forgotten. 
 
 This occurrence may serve to show what 
 it was to be Beethoven s friend, and to keep 
 on good terms with him only a single year. 
 How much friendship, how many sacri- 
 fices, what an entire self-denial, did it not re- 
 quire to submit to be daily exposed to the most 
 malicious calumnies, and even to the most 
 dishonourable accusations ! The friend of his
 
 LIFE OF BEETHOVEN. 29 
 
 youth, Hofrath von Breuning, was alienated 
 from him by a similar reflection on his honour, 
 and Beethoven was only brought back to him 
 by certain melancholy events of the year 1826, 
 when he stood in need of his assistance. 
 
 An accusation of this kind occasioned a 
 coolness of twelve years' standing between 
 him and his old friend Dr. Malfatti ; and it 
 was not till Beethoven was on his deathbed 
 that I I)rought about a reconciliation. Cre- 
 dulous, inexperienced, and distrustful as he 
 was, it was easy for any worthless person to 
 slander and set him against his most tried 
 friend. It was not always that these calum- 
 nies originated with liis brothers, but other 
 odious creatures were continually poisoning 
 his mind, as there are examples enough to 
 prove in his conversation-books. 
 
 In his last illness he circumstantially re- 
 lated to me and M. von Breuning many of 
 the intrigues and machinations of some of 
 those persons, whose motives were always 
 envy and covetousness. He also confessed 
 that he had several times l)een induced to
 
 so LIFE OF BEETHOVEN. 
 
 write letters, declaring his conviction of the 
 deceit and treachery of this or that friend, 
 without any better ground than those false 
 accusations. 
 
 The manner in which he made his peace, 
 however, was so frank and open-hearted, that 
 one could not help passing over every vexation 
 and insult that might have been received 
 from him. 
 
 With his servants he was accustomed to 
 make up these affronts by presents of money, 
 and it was said that his faithful old house- 
 keeper, who bore his humours for many 
 years, was able to help him in time of need 
 with what she had saved out of these pre- 
 sents, or rather fines, which Beethoven im- 
 posed on himself. That there really were 
 such moments I can myself bear witne'ss, and 
 a note which I received from him in the 
 spring of the year 1824 attests the same 
 thing : — " Frau Schnapps (a nickname he 
 had given to his housekeeper) will advance 
 what is wanted for housekeeping ; so come 
 and dine with me at two o'clock. I have
 
 . LIFE OF BEETHOVEN. 31 
 
 some good news to tell, but let this be 
 between ourselves, that the hrain-eater^ may 
 know nothing about it. — Beethoven." 
 
 In the spring of the year 1824, Beethoven 
 was again invited to visit England, and 
 he appeared more than usually resolved on 
 undertaking this journey in the following 
 autumn. I was to accompany him, and we 
 were to travel through the Rhenish provinces, 
 that he might see his native country once 
 more, where, alas ! not a creature, with the 
 exception of Dr. Wegeler in Coblentz, 
 Ries's father, and the music-publisher Simrock 
 in Bonn, ever bestowed a thought upon him. 
 How rare was his correspondence, even with 
 these old friends, appears from the Notices of 
 Beethoven, published by the first-mentioned 
 of them. Autumn approached, but Beetho- 
 ven made no preparations for the journey. 
 
 In a letter dated the 20th of December of 
 the same year, the invitation was most press- 
 ingly repeated on the part of the Philhar- 
 
 • This refers to his brotlier Johann.
 
 32 LIFE OF BEETHOVEN. 
 
 monic Society by Mr. Neate,* music professor 
 of London, who liad formerly passed some 
 time in Vienna. The terms offered were 
 as follow : — 
 
 " The Philharmonic Society proposes to 
 pay you 300 guineas for your visit, and ex- 
 pects, on your part, that you will superintend 
 the performance of your own works, of which 
 at least one will be given at every concert. 
 It also expects that you will, in the course 
 of your stay in England, write a new Sym- 
 phony and a Concerto, to be performed here, 
 but to remain your own property." For a 
 concert, which it was further proposed that 
 he should himself give in London, the sum of 
 500/. sterling was to be guaranteed to him ; 
 so that nothing could be handsomer than 
 these offers, as Beethoven himself acknow- 
 ledged. But his nephew ! . . . . certain rumours 
 with respect to this young man had now be- 
 come generally current, and the consequence 
 was, that the journey was given up^ and the 
 
 * See the Correspondence with Mr. Neate in the Sup- 
 plement, No. II., Vol. II.
 
 LIFE OF BEETHOVEN. 33 
 
 hopes of the Londoners, to see among them 
 their long-established favourite, Beethoven, 
 were all frustrated. 
 
 And now for the following fact, which I 
 hope may be considered in all its bearings, 
 and duly estimated by all admirers of the great 
 deceased, since it deserves, far more than any 
 of those already related, the attention of the 
 whole musical world. 
 
 In the beginning of the year 1824, Beet- 
 hoven received from a Russian prince his first 
 extremely flattering letter, with a request that 
 he would write one or two instrumental Quar- 
 tetts, and dedicate them to the writer. The 
 terms proposed were highly agreeable, the 
 condition being added, that the prince should 
 possess both of the works to be composed for 
 a full year as his sole property, and that, after 
 the lapse of that time only, the master should 
 have a right to publish them. (This condi- 
 tion, which served to increase the loss that he 
 eventually sustained, was not at first agreed 
 to by Ijcelhoven, but afterwards punctually 
 fulfilled.) 
 
 c3
 
 34 LIFE OF BEETHOVEN. 
 
 This was soon followed by a second letter 
 to the same purport, and just as some ser- 
 pents are said by their glance to fascinate 
 their destined prey, did Beethoven, by whom 
 adulation was in general totally disregarded, 
 appear intoxicated by the flatteries of the 
 Russian prince. He abandoned the compo- 
 sition of the Oratorio by C. Bernard, which 
 was already begun, and set about a Quartett 
 for Prince Nicholas von Galitzin, but before it 
 was ready the prince applied for a second, and 
 soon after for a third, and found means to 
 gain over Beethoven so entirely, that he 
 seemed to think no more of the Oratorio, of 
 the tenth Symphony, or even of a work which 
 he had already planned, and which was to be 
 the grand effort of his life, the conclusion 
 of his artistical exertions — namely — the set- 
 ting Gothe's Faust to music* The musical 
 world has to thank this man only that all 
 these works, as well as a grand Requiem, 
 
 * Hofrath Rochlitz had already, in 1822, made him, in 
 the name of M. Hartel, a proposal for the composition of 
 Gothe's Faust.
 
 LIFE OF BEETHOVEN. 35 
 
 which the composer had also projected, re- 
 mained unwritten, and for this he can never 
 make amends. But let us proceed. The 
 sum agreed on for the Quartetts, to be writ- 
 ten for this princely Maecenas, was 125 
 ducats. Beethoven, however, received from 
 St. Petersburg nothing l)ut letters filled with 
 questions concerning doubtful or difficult pas- 
 sages in these Quartetts, to which the fullest 
 and most circumstantial replies were imme- 
 diately dispatched, and it would be highly de- 
 sirable, for the intelligibility of the pieces in 
 question, that these answers should be pub- 
 lished ;* but never did he receive a single ruble. 
 It was not till the month of December, in the 
 year 1826, when a long illness had occasioned 
 him considerable pecuniary embarrassment, 
 that he applied to the prince for the stipulated 
 sum, representing his distressed situation ; but 
 received no answer. Beethoven wrote again, 
 
 * One of these answers, in Beethoven's handwriting, I 
 sent, in the year 1828, to Professor Marx, in Berlin, for the 
 BerUn Musical Journal, but have never seen or heard of it 
 since.
 
 36 LIFE OF BEETHOVEN. 
 
 and at the same time begged the Austrian am- 
 bassador and the banking-house of Stieglitz at 
 St. Petersl)urg, in private letters, to make 
 application to the prince. At length an an- 
 swer arrived from the latter, that Prince 
 Nicholas von Galitzin had gone to Persia to 
 join the army, without leaving them any in- 
 tructions to remit money to Beethoven. In 
 this painful situation Beethoven recollected 
 the offer made to him by the London Philhar- 
 monic Society, and wrote on the subject to 
 Moscheles and Sir George Smart. I shall 
 return again to this matter, and in the mean 
 time I must be allowed to close this extra- 
 ordinary case by observing, that if Prince 
 Nicholas von Galitzin is still living, he can 
 only hope to appease the manes of Beethoven 
 by paying over this just debt of 125 ducats, 
 either to some charitable institution, or to the 
 Bonn committee for the erection of a monu- 
 ment to his memory. 
 
 Immediately after the above-mentioned two 
 memorable concerts, Beethoven moved into a 
 pleasant house at Penzing, near Schonbrunn,
 
 LIFE OF BEETHOVEN. 37 
 
 to nhich he had taken a fancy, connected with 
 which is a characteristic anecdote. The house 
 is situated near the river Wien, over which 
 there is a bridge for foot passengers, and, as 
 the master had become an object of great 
 public curiosity, it was not uncommon for 
 this bridge to be occupied by a crowd of per- 
 sons, who had posted themselves there, to wait 
 for an opportunity of seeing him. This an- 
 noyed him so much that he left the house in 
 three weeks and went to Baden. A similar 
 case had occurred a year before at Hetzen- 
 dorf, where he left a ioflging which he had 
 taken for the summer, and for which he had 
 paid in advance 400 florins, because he took 
 offence at the excessive politeness of his land- 
 lord. 
 
 In the autumn of the year 1824 Beethoven 
 returned from Baden, and for the first time 
 for many years took a house in town, that 
 his nephew, who had now left school, might 
 be near the University. During this winter 
 (1824-5) the master had a severe fit of 
 illness, originating in an intestinal disorder : 
 
 4ol2C4
 
 38 LIFE OF BEETHOVEN. 
 
 indeed, lie had been on bad terms with his 
 stomach during his whole life. The eminent 
 physician, Dr. Staudenhehn, had hitherto been 
 his medical attendant, and often had to re- 
 monstrate seriously with his patient, though 
 it must be confessed without much effect. 
 Now, however, he chose to appoint Dr. 
 Braunhofer, professor at the University, to 
 attend him. The winter was passed in a 
 state of constant suffering, and it was not till 
 the spring that he began to recover a little, 
 and moved again to Baden, his favourite sum- 
 mer residence. 
 
 His mental activity during this whole year 
 extended no further tlian to the composition 
 of the last Quartett ; for the Russian Maece- 
 nas was continually writing flattering, letters 
 to urge him to its completion. 
 
 The first work undertaken after the illness 
 of the year 1825 was the Quartett, No. 12, 
 with the remarkable adagio — " Canzone di 
 ringraziamento in modo Udico, offerta alia 
 Dimnita da un guarito." 
 
 In the year 1825 Beethoven closed with
 
 LIFE OF BEETHOVEN. 39 
 
 an offer made to him by the brothers Schott, 
 in INIainz, for the purchase of his second Mass 
 and of the ninth Sym})hony, after proposals had 
 been made to him by houses in Berlin, Vienna, 
 and Leipzig, which, however, did not suit him. 
 Pursuant to this agreement, Beethoven re- 
 ceived -, . 
 
 llorins. 
 
 For the Mass in D major, op. 123 . . . 1000 
 For the ninth Symphony, op. 125 . . . 600 
 
 At the same time the house at IMainz agreed 
 for the followino; works of Beethoven's : — 
 
 Quatuor, op. 127, for . . 50 ducats. 
 
 Quatuor, op. 131, for . . 80 „ 
 
 Overture in C major, op. 124^ 
 
 Opferlied, op. 121 
 
 Bundeslied, op. 122 
 
 Ariette to Cldoe, op. 128 
 
 Bagatelles for the 
 
 pianoforte . . op. 126, 
 
 For these five works Beetho- 
 ven received the sum of 130 ducats. 
 
 This not inconsiderable sum might have 
 enabled him to replace the amount abstracted
 
 40 LIFE OF BEETHOVEN. 
 
 from his little fund, and to avert many fu- 
 ture difficulties, had he not determined to 
 consider it as a capital, to be laid out in the 
 purchase of public securities, as a provision 
 for his nephew, and not as his own property. 
 How far he was in the right we shall see in 
 the sequel. 
 
 In the autumn of 1825 Beethoven moved 
 to his last lodging, in what is called the 
 Schwarzpanier House, situated on the glacis 
 of the suburb of Wiihring. It suited him 
 well, had plenty of sunshine, and commanded 
 an extensive and, at the same time, agreeable 
 prospect over the city and several suburbs. 
 In this abode he passed the eventful year 
 1826, in which his harassed mind was des- 
 tined to the hardest and bitterest trial 
 which could be imposed upon a man, to 
 whom virtue and honour were the dearest of 
 all things. 
 
 His adopted nephew, endowed, as I have 
 already remarked, with uncommon mental 
 abilities, had, to the great joy of his uncle, who 
 brought him up like the child of a nobleman.
 
 LIFE OF BEETHOVEN. 41 
 
 already made considerable progress in his 
 education, and Beethoven took no little pride 
 in his success. At the age of seventeen, the 
 youth returned to the house of this his second 
 father, and, attending only the course of philo- 
 sophy at the University, was released from all 
 the restraints to which he was necessarily sub- 
 ject while at school ; for his uncle, trusting 
 entirely to his understanding and steadiness, 
 granted his nephew all the freedom he desired, 
 which, indeed, under the circumstances, he 
 could hardly avoid. It would lead us too far to 
 enter into any detail of the observations made 
 by his first teachers on a certain turn of mind 
 in the boy, which might probably lead him 
 away from the right path ; it was hoped that 
 this had been corrected in his subsequent edu- 
 cation. 
 
 This youth, possessing talents worthy of his 
 renowned name, was no sooner in the full 
 enjoyment of his liberty, than he fell into an 
 evil course of life — neglected his studies — 
 abused the affection and indulgence of his 
 uncle — and was, at last, expelled from the
 
 42 LIFE OF BEETHOVEN. 
 
 University, where even the respect universally 
 felt for the name he bore could no longer 
 screen him. It would be needless to dwell 
 on the sufferings of the great master, before 
 and during this event, which was not unex- 
 pected. Whoever saw him in this time of 
 trouble could not fail to perceive plainly on 
 his features the traces of the mortification 
 caused by this dishonour to his name. 
 
 The measure of his sufferings was, however, 
 far from full ; and they were increased by the 
 circumstance that there were people found 
 who threw the blame of all that had hap- 
 pened on the uncle ; and we will not therefore 
 shrink from inquiring, in the course of this 
 narrative, whether some part of the fault may 
 not indeed be attributable to Beethoven. 
 
 In accordance with the wish of this young 
 man, he was now allowed to continue his 
 studies at the Polytechnic Institution, and to 
 devote himself to mercantile pursuits — a per- 
 mission which Beethoven was the more wil- 
 ling to grant, since he knew his nephew 
 would, in that institution, be under the
 
 LIFE OF BEETHOVEN. 43 
 
 superintendence of the vice - director, M. 
 Reisser, who was his joint-guardian with 
 himself. All attempts to bring him again 
 into an honourable course were vain ; on 
 the contrary, Beethoven received innumer- 
 able proofs that he had not only lost all 
 affection, but even all respect for him, and 
 rejected Avith equal obstinacy advice and en- 
 treaty. It may now be time to inquire how 
 far the master may be considered blame- 
 able for the conduct of this youth, and by 
 what means the latter forfeited his affection 
 and his respect. 
 
 When a man undertakes the education of a 
 gifted child, possessed by such an excess of love 
 as Beethoven bore to his nephew, this alone 
 may prove the source of innumerable evils, 
 and become a kind of Pandora's box. Beet- 
 hoven, in the first instance, committed the mis- 
 take of granting unbounded confidence to his 
 nephew when a boy ten or twelve years of 
 age, though he had often been convicted 
 of falsehood and other serious juvenile
 
 44 LIFE OF BEETHOVEN. 
 
 faults ; and afterwards expecting from a lad of 
 sixteen the steadiness of a man, and emanci- 
 pating him in the fullest sense of the term. Of 
 these mistakes he now became conscious — but 
 alas ! too late ! Beetho^^en was still more to 
 blame because he could not, even in the pre- 
 sence of his nephew, refrain from expressing 
 his detestation of the boy's mother, to which 
 he gave utterance sometimes in the most vio- 
 lent manner ; forbidding him all intercourse 
 with her, utterly regardless of the voice of Na- 
 ture, which, sooner or later, may awaken and 
 become its own avenger. 
 
 No sooner was the young man re- 
 leased from the restraints of his childhood 
 than he sought out this in every sense unfor- 
 tunate mother ; and continued to visit her, 
 although he knew that this had been most 
 strictly forbidden by Beethoven : and hence 
 arose many painful contests between uncle and 
 nephew. 
 
 In these proceedings, though Beethoven 
 may have been over-severe towards the mo-
 
 LIFE OF BEETHOVEN. 45 
 
 ther, he was led to adopt this course by the 
 most cogent reasons founded on antecedent 
 events. 
 
 There are now lying before me twenty- 
 nine letters, addressed by Beethoven to his 
 nephew in the summer of the year 1825, 
 dated Baden, and which, with other papers, 
 came again into his possession after his ne- 
 phew's catastrophe in August, 1826. They 
 w^ere confided to me and Hofrath von 
 Breuning, at that moment, towards the end 
 of his earthly career, to which I have ad- 
 verted in the introduction to this work, in 
 order that from their contents a judgment 
 might be formed of the line of conduct pur- 
 sued by the 'uncle towards his nephew, and 
 that he might stand before the world ac- 
 quitted of charges brought against him. I now 
 proceed to fulfil the melancholy duty of 
 making some faithful extracts from them. 
 
 I. 
 
 " I rejoice, my dear son, that you are 
 pleased with your adopted sphere of life, and 
 diligent in acquiring what is necessary for it.
 
 46 LIFE OF BEETHOVEN. 
 
 Your handwriting I should not have known 
 again. I myself indeed care only about the 
 sense and signification, but you must now 
 endeavour to attain also external elegance. 
 
 " If it is too hard a task for you to come 
 hither, never mind. Should it, however, be 
 any way possible, I shall be glad to have in 
 my exile some feeling heart about me. I 
 embrace you most cordially. 
 
 " Your affectionate father, 
 
 " Beethoven." 
 
 II. 
 
 " May 18, 1825. 
 
 " It cannot but be becoming in a youth, 
 now nearly nineteen, to unite with his cares 
 for his education and future prosperity the 
 duty which he owes to his benefactor, to 
 w^hom he is indebted for his maintenance. 
 Have I not fulfilled mine towards my poor 
 parents, and rejoiced when I was able to 
 assist them ? How different has been your 
 conduct towards me ! Thoughtless boy, fare- 
 well. 
 
 " Beethoven."
 
 LIFE OF BEETHOVEN. 47 
 
 III. 
 
 "May 22, 1825. 
 
 " I have been assured, although hitherto 
 it has been only matter of conjecture, that 
 you have again been carrying on a clandes- 
 tine intercourse with your mother. Am I 
 again to experience this hateful ingratitude ? 
 Shall the tie between us be severed ? — So be 
 it then. You will be detested by every impar- 
 tial person who shall hear of your ingratitude. 
 The expressions used by my brother, and 
 your own of yesterday, with respect to Dr. 
 
 S r, must of course be painful to me, 
 
 since the very reverse of what he requires 
 has been decided by the tribunal.* Am I 
 continually to be forced to entangle myself 
 in these abominations ? Never again ! Is the 
 agreement become burdensome to you ? Be 
 it so, in God's name ! I have done my part, 
 and leave you to Providence. I do not fear 
 to answer for my conduct before the judgment- 
 seat of the Almighty. 
 
 " Beethoven." 
 
 * This passage refers to the law-suit with his sister-in- 
 law.
 
 48 LIFE OF BEETHOVEN. 
 
 IV. 
 
 " Baden, May 31, 1825. 
 
 " Enough of this ! Spoiled as you have 
 been, it would do you no injury to pay some 
 attention at last to simplicity and truth. I 
 have suffered too much from your artifices, and 
 it will be a hard matter for me to forget them. 
 Even if I would always submit, without 
 murmuring, like an ox to the yoke, if you 
 should behave thus towards others, you 
 will never gain the good-will of any human 
 creature. God knows all I wish is to be 
 freed from you, from this base brother, and 
 from these my worthless relations. May God 
 hear my prayer ! for I can never trust you 
 more. 
 
 " Your father — alas ! 
 
 " yet, fortunately not your father." 
 
 V. 
 
 (In answer to an account of money received.) 
 
 " June 18, 1825. 
 
 " Let us not look further 
 
 back. It would be easy to do so, but it would 
 only be painful for me ; at last it would only
 
 LIFE OF BEETHOVEN. 49 
 
 be — ' you are a very good guardian, &c. . . . 
 Were you but a little steadier, you would have 
 always acted differently.' 
 
 " Beethoven." 
 
 VI. 
 
 "July 18, 1825.. 
 
 " Dear Son, 
 " Only be moderate. Fortune has crowned 
 my endeavours, but let no mistaken views 
 lead you into embarrassment. Be candid 
 and exact in the account of your expenses. 
 Let the theatre rest for the present. Be ruled 
 by your father, and guided by him whose 
 every wish has been invariably directed to- 
 wards your moral welfare as well as your 
 worldly prosperity ! Be indeed my son. What 
 an unheard-of discord would it be, if you 
 were indeed false to me, as some people still 
 maintain ! 
 
 " Beethoven." 
 
 VII. 
 
 " I am growing thinner and thinner, and 
 
 VOL. IL D
 
 50 LIFE OF BEETHOVEN. 
 
 am indeed very poorly, without having any 
 doctor, or any one to feel forme. If it be pos- 
 sible, come to me. But I do not wish to be any 
 hindrance to you. I wish I were only sure 
 that the Sunday would be properly spent 
 without me. I must learn to give up all. 
 Would that these great sacrifices might only 
 bring forth good fruits ! 
 
 "Where am I not injured and wounded? 
 Have no secret dealings with my brother. 
 Once for all, have no secrets from me — from 
 your affectionate father. If I am angry, 
 ascribe it to my anxiety on your account, for 
 vou are exposed to much peril. Think of 
 my sufferings and give me no uneasiness. I 
 ought by rights to have no fears of this kind, 
 
 but what have I not experienced ! 
 
 " Beethoven." 
 
 VIII. 
 
 " ' Come soon, come soon, come soon.' Be it 
 so. The day before yesterday came my Signor 
 Fratello* and his brother-in-law. What a 
 * Beethoven's brother.
 
 LIFE OF BEETHOVEN. 51 
 
 wretched creature ! If Cato, speaking of 
 Caesar, exclaimed ' This man and we' — 
 what shall we say of such a one as this ? 
 "Now, as ever, thine anxious and 
 " affectionate Father, 
 
 " Beethoven." 
 
 IX. 
 
 September, 1825. 
 
 " I do not wish that you should come to 
 me on the 14th inst. It is better that you 
 should finish your studies. God has never 
 yet forsaken me, and some one will be found 
 to close my eyes. There seems to me indeed 
 to be something pre-ordained in all that has 
 taken place, in which my brother (Pseudo) 
 plays a part. I know that you have no wish 
 to come to me even afterwards, and it is natu- 
 ral that it should be so. Such a sphere as 
 
 mine is too pure for you You need 
 
 not come on Sundays, either, for, after such 
 l)ehaviour, true harmony and concord can 
 never subsist ; and what is the use of hypo- 
 crisy ? Be, in reality, a better man ; but use 
 
 D 2
 
 52 LIFE OF BEETHOVEN. 
 
 no deceit, no lies ; it will be all the better for 
 your moral character in the end. You see 
 your conduct is reflected in the mirror of my 
 mind. The kindest remonstrances Avould be 
 of no avail. You will, in either case, be in- 
 censed. For the rest, be under no appre- 
 hension. I Avill continue my cares for you 
 as usual. AVhat troubles do you not occasion 
 me ! Farewell. He who has not indeed 
 bestowed on you your life, but the support of 
 that life, and what is more than all else, the 
 cultivation of your mind, as a father — nay 
 more than that — most fervently implores you 
 to keep in the only true path to all that is 
 ri^ht and good. 
 
 - "Your faithful affectionate Father, 
 
 " Beethoven." 
 
 X. 
 
 " My dear son, — No more of this — come 
 to my arms, you shall not hear one harsh 
 word. For God's sake, do not ruin yourself: 
 you shall be received as kindly as ever. As 
 to what is to be thought of, and done for the
 
 LIFE OF BEETHOVEN. 53 
 
 future, we will talk it over in a friendly 
 manner together. Upon my word of honour, 
 you shall hear no reproaches, Avhicli, indeed 
 can now do no good. You have nothing to 
 expect from me but the most anxious and 
 affectionate care for your welfare. Only come, 
 come to the heart of your father, 
 
 " Beethoven." 
 
 XI. 
 
 October 5, 1825. 
 
 " I have just received your letter. I was 
 excessively anxious, and had made up my 
 mind to go to-day to Vienna. Thank God, 
 it is not necessary. Only be obedient to me, 
 and affection, peace of mind, and ^^■orldly 
 prosperity, will be our united lot. You will 
 enjoy an inward and spiritual, as well as a 
 material, existence. But let the former be 
 j)referred to the latter. 
 
 " A thousand times I embrace and kiss 
 you, not my lost, but my new-born son. 
 For you, my restored child, will your affec- 
 tionate father ever care. 
 
 " Beethoven."
 
 54 LIFE OF BEETHOVEN. 
 
 XII. 
 
 "October 14, 1825. 
 
 " I inform you in haste, that I will cer- 
 tainly come to-morrow morning, even if it 
 should rain, therefore let me be sure of finding 
 you. I shall rejoice to see you once more, 
 and should some dark clouds appear, do 
 not ascribe them to intentional resentment. 
 They will be entirely dispersed by the im- 
 proved behaviour you have promised, by 
 happiness, based upon sincerity and active 
 industry. Who would not rejoice to see the 
 wanderer return again to the right path ? 
 This happiness I hope to experience. 
 
 *' Beethoven." 
 
 These fragments will be sufficient to ex- 
 hibit Beethoven's situation, his state of mind, 
 and his sufferings, as described by himself; 
 not less plainly do they serve to show his 
 relation to various members of his family. 
 Above all, however, we perceive in these 
 letters the noble high-minded man ; and such 
 was Beethoven, not only in moments of 
 excitement, but throughout his whole life.
 
 LIFE OF BEETHOVEN. 55 
 
 Could I add, in reference to the last extract, 
 that Beethoven long enjoyed the felicity of 
 seeing his ill-advised nephew, then nineteen 
 years old, walking in the paths of virtue and 
 honour, I should breathe more freely after 
 the painful emotions excited by thus recalling 
 the past, and awakening the remembrance of 
 what I have gone through in witnessing the 
 patience, with which, for years, the great 
 artist bore his cross, the weight of which 
 sometimes bowed him to the ground. Alas ! 
 all this was only the prelude to that catastro- 
 phe which was destined to give the death- 
 blow to our illustrious master ! 
 
 Notwithstanding all care, attention, and 
 kindness on the part of Beethoven* and the 
 joint guardian of this unhappy young man, 
 the vice-director of the Polytechnic Institu- 
 tion, he again entered the slippery path 
 which he had been prevailed on to quit, and 
 when, in August 1826, he was urged to work 
 
 *That he might not have to charge himself with any 
 neglect, Beethoven, contrary to his custom, remained in 
 town during the summer of 1826.
 
 56 LIFE OF BEETHOVEN. 
 
 up many examinations at the Institution, 
 which were in arrear, he made an attempt on 
 his life. This attempt failed, but it placed 
 him as a suicide, according to the laws of his 
 country, in the hands of justice, for it is pre- 
 sumed that nothing but a want of religion 
 can possibly lead to so violent a step ; male- 
 factors of this kind are consequently placed 
 under the care of the civil authorities, with a 
 view of promoting the amendment of their 
 religious principles. 
 
 Thus it w^as with the nephew of Beethoven, 
 and when the time came, when he was to be 
 again given over to the care of his guardian, 
 it was done with a positive injunction on the 
 part of the authorities, to keep him only one 
 day in his house, since he Avas not permitted 
 to remain longer in Vienna. This took place 
 towards the end of the month of October, 
 and now it was hard to know what was to 
 be done. Johann van Beethoven offered his 
 brother his country-house as a temporary 
 residence for his nephew, until Hofrath von 
 Breuning should succeed in procuring for
 
 LIFE OF BEETHOVEN. 57 
 
 the young man a commission as cadet in 
 some regiment, since he had now an incli- 
 nation to a military life. After a great deal 
 of trouble, M. von Breuning succeeded in 
 interesting Lieutenant Field-Marshal Stutter- 
 heim for the deeply afflicted Beethoven, and 
 he consented to take the nephew into his 
 regiment. Out of gratitude, Beethoven dedi- 
 cated to this officer his grand Quartett in c 
 sharp minor. 
 
 The severity of the season, and the incre- 
 dibly thoughtless conduct of which the 
 nephew and the other relations of Beethoven 
 were guilty towards him obliged him to 
 return to Vienna. This journey, which, in 
 so advanced a period of the year, could not 
 be performed in one day, was made in an 
 open carriage, because, as Beethoven himself 
 assured me, his brother had relused to trust 
 him with his close one. 
 
 It was necessary to give a brief relalion of 
 these occurrences, for only thus could Beet- 
 hoven find the defence and the justification 
 which he thought necessary, and which he 
 
 D 3
 
 58 LIFE OF BEETHOVEN. 
 
 will meet with from every sympathetic mind. 
 In fact, in the many discussions concerning 
 him, mention was often made of this circum- 
 stance, without any knowledge of the real 
 state of the case, and often with conjectures 
 which, by degrees, might at length assume the 
 shape of a regular accusation against him. 
 
 On the 2nd of December, 1826, Beethoven, 
 with his nephew, returned sick to Vienna ; 
 but it was not till several days afterwards that 
 I heard of his situation, or even of his arrival. 
 I hastened to him, and, among other details, 
 which shocked me much, learned that he had 
 often in vain entreated his two former physi- 
 cians, Drs. Braunhofer and Staudejdieim, to 
 undertake his case ; the first declining to do 
 so, because the distance was too great for him 
 to come ; and the second, indeed, promising to 
 come, but not keeping his word. A physician 
 was sent to his house, he did not know how, 
 or by whom, and who, consequently, knew 
 nothing of him or his constitution. When, 
 however, this physician (the excellent Dr. 
 Wawruch, clinical professor) visited Beet-
 
 LIFE OF BEETHOVEN. 59 
 
 hoven's sick-bed, I heard from his own mouth 
 liow it happened, and it affords an additional 
 proof that this man, belonging to the world 
 and to posterity, was abandoned by his nearest 
 relations, who had so much cause to be grate- 
 ful to him : not merely abandoned, indeed, 
 but betrayed and sold. Professor Wawruch 
 related to me that he had been sent to Beet- 
 hoven by the marker at a billiard-table at a 
 coffee-house, who being, on account of illness, 
 brought to the hospital, had mentioned that 
 some days before the nephew of Beethoven 
 had come to the coffee-house, where he played 
 at billiards, and commissioned him, the marker, 
 to find a physician for his sick uncle; but, 
 being extremely unwell at the time, he had 
 not been able to do so, and therefore begged 
 the Professor to visit Beethoven, which, en- 
 tertaining the highest respect for the artist, 
 he had immediately done, and had on his 
 arrival still found him without medical at- 
 tendance. It was necessary then for the 
 marker at a billiard-table to fall sick and 
 be taken to the hospital, before the great
 
 60 LIFE OF BEETHOVEN. 
 
 Beethoven could obtain help in time of 
 need ! ! 
 
 Who would not find his feelings revolted 
 by this disgraceful fact ? After this no farther 
 explanation can be necessary to show what 
 were Beethoven's sufferings in his deplorable 
 condition, or what was the ultimate cause of 
 his early death. 
 
 Before the end of December, the nephew 
 set off to join his regiment, and from that 
 moment it seemed as if the uncle had been 
 delivered from his evil genius. He became 
 more cheerful and resigned to his fate, hoping 
 and expecting a speedy recovery from his ill- 
 ness to result from the care of his physician. 
 His former love for his nephew seemed now 
 transformed into bitter hatred ; but before the 
 hour arrived which was to sunder every 
 earthly tie, his first feelings returned, and he 
 appointed this nephew his sole heir,* 
 
 * As far as I have been able to learn, this nephew now 
 holds some civil appointment under the Austrian govern- 
 ment. It is therefore probable that time, circumstances, and 
 mature reflection, have induced him to return to the right
 
 [PK ( 
 
 LIFE OF BEETHOVEN. 6l 
 
 The malady which brought him back to 
 Vienna, on the occasion just mentioned, was 
 an inflammation of tlie lungs, soon followed 
 by symptoms of dropsy. These at first Pro- 
 fessor Wawruch refused to recognise, but 
 they increased so rapidly that it was no longer 
 possible to doubt the nature of the disease. 
 
 On the 18th of December an operation was 
 found to be necessary ; another followed on 
 the 8th of January ; a third on the 28th of 
 the same month ; and the fourth on the 27th 
 of February.* 
 
 Towards the end of January Beethoven's 
 former friend, the celebrated Dr. Malfatti, 
 Avas induced, after much supplication and 
 entreaty, to prescribe for him ; and, from this 
 
 path, as we must all wish that he should. When we re- 
 member, 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 occur- 
 rences, 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. 
 
 * See the Correspondence between Beethoven and the 
 Editor, Supplement No. VI., Vol. II.
 
 62 LIFE OF BEETHOVEN. 
 
 time, by the advice of both his medical attend- 
 ants, he tooiv daily, as the only specific, con- 
 siderable quantities of iced punchy by which 
 the vital powers, prostrated by the frequent 
 operations, were restored to such a degree, 
 that he considered himself as perfectly con- 
 valescent, threw away angrily the volume of 
 Walter Scott, with which he had been trying 
 to pass away the time, and exclaiming, — " The 
 man writes only for money ! " set to work 
 again at a Sonata for two performers, which 
 lie had been writing for Diabelli, although 
 the physicians had positively prohibited every 
 mental exertion. After the fourth operation, 
 however, even iced punch could no longer 
 act as a restorative, although no limits were 
 prescribed to its use. From this time he 
 declined rapidly. 
 
 During this period of suffering, Beethoven 
 would have no one about him but von Breu- 
 ning and myself; and when we were both 
 unavoidably kept from him by our avoca- 
 tions, as indeed generally happened for 
 several hours every day, the favourite com-
 
 LIFE OF BEETHOVEN. 63 
 
 panion and best nurse of the sick artist was 
 von Breuning's son, a lively and clever boy, 
 eleven years old, who, by his freedom from 
 care, and ignorance of the danger in which 
 we knew our friend to be, was frequently 
 better able to raise his spirits than we were. 
 Little Gerhard was often warmly thanked by 
 Beethoven for his assistance in this way. 
 
 It is now time to give a detailed account of 
 Beethoven's letters to London, in which he 
 made an application to the Philharmonic 
 Society, as these letters have been much 
 talked of, and often taken amiss. 
 
 It may, perhaps, be recollected under what 
 circumstances Beethoven was compelled, in 
 the year 1823, to encroach on his little sav- 
 ings, as well as that the extremely slender 
 profit accruing from the two concerts in 1824 
 had disappointed his hopes of being able to 
 make up the deficiency thus occasioned. 
 How and why the projected journey to Lon- 
 don in the same year, which afforded such 
 cheering pecuniary prospects, was given up, 
 and how he had foolishly appropriated to liis
 
 64 LIFE OF BEETHOVEN. 
 
 unworthy heir the sum received for his last 
 works, without thinking of himself, I have 
 also related. To these causes of embarrass- 
 ment we may add the base conduct of the 
 Russian Prince Nicholas von Galitzin, at the 
 time when Beethoven was scarcely able to 
 rise from his bed, and had to contend with 
 heavy expenses, while he was assured by 
 his physicians that his illness was likely to 
 be of long duration, and that he must not 
 think of working; for a lon^ time to come. 
 
 In addition to all this came the increased 
 expenditure for his nephew, for whose main- 
 tenance, as his adopted father, he was, even by 
 the laws of his country, compelled to provide. 
 
 Thus, sick and harassed, Beethoven found 
 himself obliged either to make use of the only 
 property he possessed, consisting of a few 
 bank shares, or to apply to his brother for 
 assistance. This brother one day, in the pre- 
 sence of M. von Breuning and myself, declined 
 letting Beethoven have any of his hay, when 
 two physicians had prescribed for him a hay 
 vapour-bath ; alleging as an excuse that his
 
 LIFE OF BEETHOVEN. 65 
 
 hay was not good enough. Yet tliis " iin- 
 brotherly brother," as Beethoven called him, 
 rich as he was, wished to share in the little 
 that the composer possessed.* To be obliged 
 to ask assistance from him was of itself like 
 a death-blow to Beethoven. 
 
 Forgotten by the Viennese, whom his de- 
 cease first aroused from the delirium of the 
 Rossini-fever, and pressed by these ditficul- 
 ties, the master remembered an offer made 
 to him some years before by the Philhar- 
 monic Society, and after much hesitation 
 determined to apply, as a first step, by letter 
 to Moscheles, although quite against my 
 advice and that of M. von Breuning, as we 
 foresaw the wronjj construction that would 
 be put on this letter. On the 22nd of Feb- 
 ruary, 1827, Beethoven wrote on this sub- 
 ject, at the same time to Moscheles and 
 to Sir George Smart. 
 
 " My dear Moscheles, — 1 am sure you 
 
 * In a letter to Ries, dated the 5th of September, 1S23, 
 Beethoven says, — " My brother Johann, who keeps his 
 carriage, has been trying to draw upon me."
 
 66 LIFE OF BEETHOVEN. 
 
 will not take it amiss, if I trouble you, as 
 well as Sir G. Smart, to whom I enclose a 
 letter, with a request. The affair is briefly 
 as follows : — Some years ago the Philhar- 
 monic Society in London made a handsome 
 offer to give me a benefit concert. At that 
 time I was not, thank ^God, in a situation to 
 make it necessary to avail myself of this gene- 
 rous proposal. But affairs are much altered 
 with me at present, when I have been con- 
 fined three months by a tedious illness — the 
 dropsy. Schindler will tell you more about it 
 in a letter accompanying this. You have long 
 known my way of life — you know how and 
 by what I live. Writing is at present out 
 of the question, and I might unfortunately 
 become so situated as to be reduced to want. 
 You have not only extensive connexions in 
 London, but also considerable influence with 
 the Philharmonic Society. I beg that you 
 will do what you can to induce them again to 
 consider their intention, and put it soon into 
 execution. My enclosed letter to Sir George 
 Smart is to the same purport, as well as one
 
 LIFE OF BEETHOVEN. 67 
 
 to Mr. StumpfF,* which is ah-eacly despatched. 
 I entreat you to forward this to Sir George, 
 and to unite with him and my other friends 
 in London to effect this object. Even dic- 
 tating becomes painful to me, so much ex- 
 hausted do I feel. Make my compliments to 
 your amiable wife, and be assured I shall 
 always remain 
 
 ''Your friend, 
 
 " Beethoven." 
 
 "Pray answer me soon, in order that I 
 may know if I have anything to hope." 
 
 On the 14th of JMarch, Beethoven again 
 wrote on this subject to Moscheles, earnestly 
 begging his attention to it. 
 
 From this second letter I make only the 
 following extract : — 
 
 • 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 de- 
 lighted with this present than if he had received the Order 
 of the Garter. At the sale of his effects, M. Tobias Has- 
 linger bought this work for 100 florins ! ! ! and from this it 
 is easy to ima<^ine what prices were paid at that auction for 
 articles of less value.
 
 68 LIFE OF BEETHOVEN. 
 
 '' On the 27th of February the operation 
 was performed for the fourth time, and there 
 are evident signs that I nmst soon submit to 
 it again. What is to be the end of it, and 
 what will become of me if it lasts much 
 longer? Mine is indeed a hard fate, but I 
 resign myself to it, only praying that God in 
 his providence may so ordain that, whilst I 
 endure this death in life, I may be protected 
 from want. I should then have strength 
 enough, let my lot be ever so severe, to sub- 
 mit with resignation to the will of the Most 
 High. Hummel is here, and has called 
 several times upon me." 
 
 As early as the 1st of IMarch, Moscheles 
 and Mr. Stumpff had written to inform him 
 of the sensation excited among his numerous 
 admirers in London by his first letter ; and 
 the former afterwards wrote to the following 
 effect : — 
 
 " The Society resolved to express their 
 good-will and lively sympathy by requesting 
 your acceptance of £100 sterling (1000 
 florins) to provide the necessary comforts
 
 LIFE OF BEETHOVEN. 69 
 
 and conveniences during your illness. This 
 money will be paid to your order by Mr. 
 Rau, of the house of Eskeles, either in sepa- 
 rate sums, or all at once, as you may desire." 
 
 Moscheles added that the Philharmonic 
 Society was willing to extend their good 
 offices still further, and that Beethoven had 
 only to write, if he needed their assistance. 
 
 In reply, Beethoven dictated to me, on the 
 18th of March, the following, since he was 
 himself too weak to write : — 
 
 '• I know not how in words to describe 
 the feelings with which 1 have read yours of 
 the 1st. I am deeply sensible of the gene- 
 rosity with which the Philharmonic Society 
 has almost anticipated my request, and I beg 
 you, dear Moscheles, to become the organ 
 through which I may convey my heart-felt 
 thanks for their kind sympathy and dis- 
 tinguished liberality. I have found niyself 
 compelled to apply for the whole sum of 1000 
 florins, as I was just under the unpleasant 
 necessity of raising money, which would have 
 occasioned me fresh embarrassment. \^'iih
 
 70 LIFE OF BEETHOVEN. 
 
 regard to the concert which the Society in- 
 tend to arrange for my benefit, I trust they 
 will not relinquish that noble design, and 
 beg that they, will deduct the £100 which 
 they already have sent me from the profits. 
 Should after that any surplus be left, and the 
 Society be kindly willing to bestow it upon 
 me, I hope to have it in my power to evince 
 my gratitude by composing for them either a 
 new Symphony, which already lies sketched 
 on my desk, or a new Overture, or anything 
 else the Society may prefer. JMay Heaven 
 grant me my health soon again, that I may 
 be able to prove to the generous English how 
 well I can appreciate their sympathy with my 
 melancholy situation ! Your noble conduct 
 can never be forgotten by me, and I beg you 
 to return my thanks in particular to Sir 
 George Smart and Mr. StumpfF. 
 
 " With the highest esteem, yours, 
 (Signed) "Beethoven." 
 
 " P. S. Kindest regards to your wife. I 
 have to thank the Philharmonic Society and
 
 LIFE OF BEETHOVEN. 
 
 71 
 
 you for a new and most 
 M. Rau * 
 
 '' I beg you to transmit 
 tronomic list of my Ninth 
 Philharmonic Society : " 
 
 Allegro ma non troppo 
 
 Molto vivace 
 
 Presto 
 
 Adagio primo 
 
 Andante moderate 
 
 Finale presto 
 
 Allegro ma non troppo 
 
 Allegro assai 
 
 Alia marcia 
 
 Andante maestoso 
 
 Adagio divoto 
 
 Allegro energico . 
 
 Allegro ma non tanto 
 
 Prestissimo 
 
 Maestoso .... 
 
 amiable friend in 
 
 the subjoined me- 
 Symphony to the 
 
 88 
 
 116 
 
 116 
 
 60 
 
 63 
 
 96 
 
 88 
 
 80 
 
 84 
 
 72 
 
 60 
 
 84 
 
 120 
 
 132 
 
 60 
 
 - r 
 ~ I 
 
 = r 
 I 
 
 - Qi 
 
 - I 
 
 = r 
 I 
 
 _ o 
 
 r 
 
 I 
 
 °\ 
 °\ 
 
 o 
 
 I 
 
 o 
 
 * This gentleman, my particular friend, was for many 
 years attached to the house of Baron von Eskeles, at Vi- 
 enna, as tutor and companion to his only son. The reader 
 will find some letters from him in the Supplement No. VI., 
 Vol. II.— Ed.
 
 72 LIFE OF BEETHOVEN. 
 
 From my own letter to Mosclieles, dated 
 the 24tli of March, accompanying the above 
 from Beethoven, written with a view to pre- 
 pare his friends in London for the approach- 
 ing death of this great man, I shall make 
 the following extract, since it belongs, no less 
 than the former, to the history of his life. 
 
 *****" The letter addressed to you, 
 and dated the 18th, Avas dictated word for 
 word by himself, and is probably his last. 
 To-day he whispered to me — ' Write to 
 Smart and Stiimpff.' Should it be possible 
 for him to sign these letters, it shall be done 
 to-morrow.* 
 
 " He is conscious of his approaching end, 
 for yesterday lie said to me and Breuning, 
 ' Plaudite amici, Comwdia fnita est.''\ 
 
 " The last few days have been memorable 
 ones. He sees the approach of death with 
 the most perfect tranquillity of soul and real 
 
 * It was not possible, and I therefore complied with his 
 desire immediately after his decease, and conveyed his 
 thanks to these two worthy men. 
 
 f Beethoven would have designated his career more 
 accurately had he said— drama /inittim est.
 
 LIFE OF BEETHOVEN. 73 
 
 Socratic wisdom. Yesterday ^ve were so 
 fortunate as to finish the business of the will.* 
 Three days after the receipt of your last, he 
 was much excited, and would have his sketch 
 of the Tenth Symphony brought to him, con- 
 cerning the plan of which he talked to me a 
 great deal. It was destined for the Philhar- 
 monic Society, and, according to the form 
 ^vhich it assumed in his morbid imagination, 
 it was to be a musical leviathan, compared 
 with which his otlier Grand Symphonies 
 would l;e merely trifling performances." 
 
 On the 18th of JMarch, Beethoven begged 
 me to att(UKl to tlie dedication of his last 
 
 * 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 in- 
 difference 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. 
 
 VOL. II. E
 
 74 LIFE OF BEETHOVEN. 
 
 Quartett, and to choose for this mark of 
 respect one of his worthiest friends. As I 
 knew this compliment to be well deserved by 
 M. Johann Wolfmayer, a merchant of Vienna, 
 most highly esteemed by Beethoven in the 
 latter days of his life, and that he was fre- 
 quently occupied by considering in what way 
 he could manifest his gratitude to him, I 
 sent the name of this gentleman, after the 
 decease of Beethoven, to Messrs. Schott, in 
 Mainz, the publishers of the above-mentioned 
 work, with a request that it might be dedi- 
 cated to him. This fact is sufficient to prove 
 how anxious Beethoven was, even to his 
 latest breath, to show himself grateful to his 
 friends and benefactors; and had he been 
 able, he would, in his last moments, have 
 expressed himself more decidedly with re- 
 spect to this dedication. 
 
 On the payment of the thousand florins by 
 M. Rau, Beethoven had still 100 florins in 
 ready money, which was sufficient for the 
 expenses of the latter days of his life, and from 
 the above sum, therefore, only a small part
 
 LIFE OF BEETHOVEN. 75 
 
 was deducted for the expenses of the funeral. 
 The remainder of this sum should have been, 
 according to the letter of Mr. IMoscheles of 
 the 1st of March, returned to the Philhar- 
 monic Society, since it was specially destined 
 to provide for the comfort of Beethoven ; but 
 they did not wish it to fall into the hands of 
 his unworthy relatives. At the legal inven- 
 tory taken after Beethoven's death, however, 
 this money fell into the hands of the autho- 
 rities ; but Dr. Bach^ whom he had Avhile 
 living appointed his executor, assigned rea- 
 sons for opposing its delivery, wdiich, in con- 
 sequence, was not insisted upon. 
 According to the account rendered 
 by Dr. Bach, the entire amount 
 of property, including the pro- 
 duce of the sale of furniture, 
 nuisic, and seven Bank Shares, florins. 
 
 amounted to 10,232 
 
 From this were to be deducted for 
 the illness, funeral, and legal 
 
 expenses, 1,213 
 
 E 2
 
 76 LIFE OF BEETHOVEN. 
 
 So that there was a net remainder florins. 
 
 of 9,019* 
 
 Dr. Bach accompanied this account with 
 a remark, in which I fully concur, that the 
 amount of the property was out of all propor- 
 tion to the deserts of the great man by whom 
 it was left, and might throw an unfavourable 
 light upon his contemporaries, were it not 
 susceptible of explanation from the charac- 
 ter and opinions of the master, who thought 
 only of his Art, and left to others the consi- 
 deration of the profit to be derived from it. 
 
 Symptoms of a speedy termination to 
 Beethoven's sufferings appeared early on the 
 24th of March, after the holy Sacrament for 
 the dying had been administered at his own 
 desire, and received by him with true devo- 
 tion. The first symptoms of approaching dis- 
 solution manifested themselves about one 
 o'clock on the same day. A most terrible 
 struggle between life and death now began, 
 
 * This will be more fully elucidated by M. Rau's letters. 
 See Supplement, No. VI., Vol. II.— Ed.
 
 LIFE OF BEETHOVEN. 77 
 
 and continued, without intermission, till the 
 26th, when, a quarter before six in the even- 
 ing, the great composer breathed his last, 
 during a tremendous hail- storm, aged 56 
 years, 3 months, and 9 days. 
 
 I am not so fortunate as to be able to say 
 that it Avas I who closed the eyes of the artist 
 who belongs to the latest posterity ; neither 
 was it M. von Breuning ; for we had gone on 
 the afternoon in question to the burial-ground 
 belonging to the village of Wahring, to pro- 
 vide a suitable place of interment, and were 
 prevented from returning by the violence of 
 the storm. The person who had to render him 
 this last service was M. Anselm Hiitten- 
 brenner, from Gratz, in Styria, favourably 
 known as a composer, Avho had hastened to 
 Vienna, that he might see Beethoven once 
 more. He fulfilled, therefore, this sacred 
 duty in our stead, and when we entered the 
 chamber we were told, " It is all over !" and 
 we returned thanks to God that his sufferings 
 were at an end. 
 
 The arrangements for the funeral were
 
 78 LIFE OF BEETHOVEN. 
 
 made by M. von Breuning and myself, in 
 conjunction with M. Tobias Haslinger, who 
 was so obliging as to superintend the music 
 to be performed at the ceremony, which took 
 place on the afternoon of the 29th. The pro- 
 cession was followed, from the abode of the 
 great deceased to the parish church of the 
 Alster-suburb, where the service was per- 
 formed, by at least 20,000 persons.* 
 
 Since it would not be uninteresting to 
 many admirers of Beethoven to learn the 
 conformation of his skull, and the state in 
 which the organs of hearing were found, I 
 insert the following particulars from the r6- 
 port made after the dissection of the body by 
 Dr. Johann Wagner. " The auditory nerves 
 were shrivelled and marrowless, the arteries 
 running along them stretched, as if over a 
 crow-quill, and knotty. The left auditory 
 nerve, which was much thinner than the 
 
 * For an account of the funeral, see Supplement, 
 No. VII., Vol. II.
 
 LIFE OF BEETHOVEN. 79 
 
 other, ran with three very narrow greyish 
 streaks ; the right, with a thicker white one, 
 out of the fourth cavity of the brain, which 
 was in this part of a much firmer consistence 
 and more filled with blood than in the rest. 
 The circumvolutions of the brain, which was 
 soft and watery, appeared twice as deep as 
 usual, and much more numerous. The skull 
 was throughout very compact, and about half 
 an inch thick." 
 
 A few days after the funeral, M. von 
 Breuning received notice from the wife of the 
 sexton of Wahring, that a considerable sum 
 had been offered to her husband if he would 
 bring the head of Beethoven to a place speci- 
 fied in Vienna. M. von Breuning, thinking 
 that this information might originate in a 
 mercenary motive of the sexton's, offered him 
 money, which he however refused, assuring 
 M. von Breuning that the intimation which 
 he had sent was nothing but the truth. On 
 this account, M. von Breuning had the grave 
 watched every night for some time.
 
 so LIFE OF BEETHOVEN. 
 
 MUSICAL OBSERVATIONS* 
 
 Intended Edition of Beethoven's Piano-forte Sonatas — 
 Causes for his relinquishing the design — Project of an 
 Edition of his complete Works — Visionary hopes ex- 
 cited by it — Metamorphosis of Beethoven's Instrumental 
 Music — Importance of a right conception of the Tempo 
 — Metronomic Signs — Injury done to Beethoven's Music 
 by metronomising — Exemplified in the Moonlight So- 
 nata — Metronomic directions condemned — Performance 
 of Beethoven's Works in Paris — Hints furnished by 
 Beethoven relative to the composition of his Sonatas, and 
 the proper style of their performance — His own Style of 
 Playing — Effects intended to be given by him to his Sym- 
 phonies — Neglect of his Works. 
 
 In the year 1816 Beethoven was prevailed 
 upon, after repeated entreaties, to make ar- 
 rangements for the publication of a complete 
 edition of all his pianoforte Sonatas. His 
 determination to undertake this task was in- 
 fluenced by the consideration of three im- 
 
 * 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.
 
 LIFE OF BEETHOVEN. 81 
 
 portaiitand indeed necessary objects ; viz. 1st, 
 To indicate the poetic ideas, which form the 
 groundwork of many of those Sonatas ; 
 thereby facilitating the comprehension of the 
 music, and determining the style of its per- 
 formance ; 2ndly, To adapt all his pre- 
 viously published pianoforte compositions to 
 the extended scale of the pianoforte of six 
 and a half octaves ; and, 3dly, To define the 
 nature of musical declamation. 
 
 On this last topic, Beethoven w^ent be- 
 yond the generally received idea. He 
 maintained that poetical and musical decla- 
 mation were subject to the same rules. 
 " Though the poet," he used to say, " carries 
 on his monologue, or dialogue, in a progres- 
 sively marked rhythm, yet the declaimer, for 
 the more accurate elucidation of the sense, 
 nmst make caesuras and pauses in places where 
 the poet could not venture on any interpunc- 
 tuation. To this extent, then, is this style of 
 declaiming applicable to music, and it is only 
 to be modified according to the number of 
 persons co-operating in the performance of a 
 nmsical composition. 
 
 e3
 
 82 LIFE OF BEETHOVEN. 
 
 Of this principle Beethoven intended to 
 make a practical application in the new edi- 
 tion of his works, according as the subjects 
 might require, and space permit, such illustra- 
 tion ; and it may be confidently assumed that 
 Beethoven's musical compositions would 
 thereby have formed a new era. 
 
 Touching the poetic idea, it is well known 
 that Beethoven did not, in his musical writ- 
 ings, confine himself to the rules established 
 by preceding composers, and that he, indeed, 
 frequently disregarded those rules when the 
 existing idea on which he worked demanded 
 another sort of treatment, or rather an en- 
 tirely new mode of development. This style 
 of composition adopted by Beethoven has 
 frequently called forth the remark, that his 
 Sonatas are mere operas in disguise. 
 
 Ries, in his " Notices," p. 77, observes 
 that " Beethoven, in composing, frequently 
 imagined for himself a definite subject," 
 which is merely saying, that Beethoven im- 
 bued his mind with poetic ideas, and under 
 the influence of their inspiration his musical 
 compositions were created.
 
 LIFE OF BEETHOVEN. 83 
 
 That the great master did not execute the 
 important task he undertook in 1816 was, it 
 must be acknowledged, an irreparable loss 
 to the musical art, and in particular to his 
 own music. How much would the Pastoral 
 Symphony suffer, or even the Eroica, if heard 
 without any comprehension of the ideas which 
 the composer adopted as his themes ! How 
 gratifying both to performer and hearer is 
 the light cast on the design of the composi- 
 tion, by the mere hint of the sentiments Beet- 
 hoven has, in his Sonata Op. 81, thus ex- 
 pressed : — "Les adieuXy' '■'L' absence ,' and 
 "Z/e retour!'* 
 
 * In like manner, Cleraenti 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 dif- 
 ferent movements, but also single passages, are rendered 
 intelligible by particular superscriptions. It is truly un- 
 pardonable 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 oppor- 
 tunity of recording Beethoven's opinion of him. Among 
 all the masters who have written for the pianoforte, Beet- 
 hoven assigned to Clementi the very foremost rank. He
 
 84 LIFE OF BEETHOVEN. 
 
 Tlie circumstances which caused Beet- 
 hoven to relinquish his design of publishing 
 the new edition of his Sonatas were — 1 st, the 
 uneasy state of mind into whicli he was 
 thrown by the hiwsuit commenced between 
 him and his sister-in4aw ; and, 2ndly, the 
 impossibility of coming to a satisfactory ar- 
 rangement with Hofmeister, the music-dealer 
 in Leipzig, who was to publish the work. 
 From Beethoven's correspondence with A. 
 Diabelli, who was his confidential adviser on 
 this subject, I perceive that the composer 
 wished the publication to be brought out in 
 parts, each part to contain two of the old 
 Sonatas, and one recently composed. For 
 each of these new productions, taken one with 
 another, Beethoven required the remunera- 
 tion of forty ducats. Hofmeister, on the 
 other hand, proposed to pay the composer at 
 the rate of one ducat per sheet. 
 
 considered his works excellent as studies for practice, for 
 the formation of a pure taste, and as truly beautiful sub- 
 jects 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."
 
 LIFE OF BEETHOVEN. 65 
 
 I once asked Beethoven why he had not 
 affixed to the different movements of his 
 Sonatas an explanation of the poetic ideas 
 they expressed, so that these ideas might at 
 once present themselves to the mind of the 
 intelligent hearer ? His answer was, that the 
 age in which he composed his Sonatas was 
 more poetic than the present* (1823), 
 and that at the former period such explana- 
 tions would have l)een superfluous. " At 
 that time" (continued he) " every one per- 
 ceived that the hargo, in the third Sonata in 
 D, Op. 10, 
 
 Larso. 
 
 
 painted the feelings of a grief-stricken mind, 
 with the varying tints in the light and shade, 
 in the picture of melancholy in all its phases ; 
 there was then no need of a key to explain the 
 meaning of the music' So in the two Sonatas, 
 Op. 14, every one, at the time when they were 
 
 * With few exceptions, the Sunalas were all composed 
 at the two periods alluded to.
 
 86 LIFE OF BEETHOVEN. 
 
 composed, immediately recognised the conflict 
 of two principles, or a dialogue between two 
 persons, exactly as is intended in the treat- 
 ment of the subject, &c." On another occa- 
 sion, I requested him to furnish me with the 
 keys to two Sonatas, that in f minor. Op. 57, 
 and that in d minor, Op. 29. His answer 
 was, " Read Shakspeare's Tempest." 
 
 In 1823, Beethoven was more earnestly 
 disposed than he had previously been to su- 
 perintend an edition of his entire works, in- 
 cluding the Symphonies. He received pro- 
 posals from publishers in all parts of the 
 continent, accompanied by advantageous con- 
 ditions. That lie did not then come to an 
 arrangement, which would have enabled him 
 to enter upon this undertaking, was the fault 
 of his brother Johann, to whom none of the 
 proposed terms appeared sufficiently liberal. 
 He suggested to Beethoven the idea of bring- 
 ing out the publication on his own account, 
 showing, by calculations on paper, the vast 
 profits which would accrue from the specu- 
 lation. M. Andreas Streicher cordially se- 
 conded the recommendation of this mode of
 
 LIFE OF BEETHOVEN. 87 
 
 publishing ; but lie differed somewhat from 
 Beethoven's brother in his estimate of the 
 profits. The documents of a lawsuit some 
 centuries ago would not have composed a more 
 bulky volume than did the manuscripts, occu- 
 pied with the calculations made, the consulta- 
 tions held, and the determinations formed, 
 during the agitation of this publishing scheme. 
 But the parties engaged in these discussions 
 and decisions forgot that they had to deal 
 with the irresolute Beethoven — who, when- 
 ever business was the question, would be 
 for one thing to-day and another to-mor- 
 row ; and against whose expressed wish it 
 was often necessary to do many things for 
 his advantage. The mere prospect of great 
 sums of money (though seen only on paper) 
 captivated Beethoven, and he began to indulge 
 in dreams of bettered circumstances, of living 
 in elegant style, and keeping his carriage and 
 horses. He was so elated by these pleasing 
 illusions that he began to fancy himself already 
 rich ; an idea not calculated to dispose his 
 mind to the gigantic labour then in contem-
 
 88 LIFE OF BEETHOVEN. 
 
 plation. * Never were the visits of him whom 
 he called his " pseudo-brother " so welcome 
 as at this time. Beethoven often accompa- 
 nied his brother in a carriage airing; and, on 
 one occasion, an effort of patience enabled 
 him to go with his brother's family on a drive 
 to the Prater. Assuredly no event could seem 
 too improbable for belief, after two such 
 heterogeneous elements as the " Gutsbesitzer " 
 (landowner) and the " Hirnbesitzer" (brain 
 owner) had been seen riding together in the 
 same carriage.t 
 
 In these visionary hopes of fortune so rea- 
 dily indulged by the great Beethoven, it is 
 easy to recognise the youth whose character is 
 summarily sketched in the Second Period. 
 To be rich, or at least in easy circumstances — 
 to ride in his carriage — to be no longer obliged 
 
 * The happy state of feeUng 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." 
 
 t 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.
 
 LIFE OF BEETHOVEN. 89 
 
 to stroll through fields and meadows to col- 
 lect ideas and compose for the sake of earning 
 a livelihood, — such was the flattering picture 
 he loved to draw, and the contemplation of 
 which often made him descend from his lofty 
 heaven of art to cling eagerly to more earthly 
 ohjects ; and then'sublime poetry was suddenly 
 metamorphosed into common prose. But, 
 thanks to the blundering management of his 
 advisers, Beethoven remained poor ! Made 
 rich, by any means Avhatsoever, he would pro- 
 bably have been little disposed to make great 
 sacrifices for art in the vigour of life ; at all 
 events, he would not have applied himself very 
 laboriously to study, had he been in the en- 
 joyment of any considerable share of the good 
 things of this world. 
 
 As, however, it is not always our own wis- 
 dom that prompts to great objects, and brings, 
 as it were, light out of darkness, so the stupid 
 perversity which dictated the arrangements 
 for the projected new edition of Beethoven's 
 works probably conferred a benefit on mu- 
 sical art. To speak more plainly, in the dis- 
 cussions on this publishing plan, the great
 
 90 LIFE OF BEETHOVEN. 
 
 master did not limit his attention to the mere 
 business part of the question, the details of 
 which, though on every occasion fresh painted 
 in glowing colom's, often disgusted him. Then 
 would he look upon the getting-up of the 
 work — the dull material — as mere dust in the 
 balance ; whilst to exercise his musical art — 
 to him the spiritual part of the enterprise — 
 wholly occupied his imagination. When this 
 feeling happened to prevail, he would describe 
 to all Avho chanced to be near him the im- 
 provements he proposed to make in reference 
 to the subject, conception, and execution in 
 many of his early works. Some of these 
 improvements owe their birth to a jocose ob- 
 servation made by Dr. Bach at one of the 
 conferences held on the subject of the publi- 
 cation. Beethoven declared that many of his 
 works did not admit of the slightest alteration, 
 and that, consequently, in reference to them 
 he could not establish any right of property 
 in a second edition. Dr. Bach replied, " That 
 the right would be sufficiently established by 
 making the composition commence with the 
 accented instead of the unaccented part of a
 
 LIFE OF BEETHOVEN. 91 
 
 bar, and vice versa ; and further, by changing 
 white notes into black and black into white." 
 This remark, intended purely in jest, inspired 
 Beethoven with a thousand new ideas, and 
 gave an impulse to his fancy, the results of 
 which soon after supplied the master-keys of 
 many of his greatest works.* 
 
 Beethoven, who knew my antipathy to ac- 
 counts, did not trouble me with any of those 
 pecuniary calculations, which indeed were to 
 himself not much more intelligible than hiero- 
 glyphics. He consulted me only on the artisti- 
 cal part of the ail-important question — was he 
 to grow rich, or remain poor? I often thought 
 that he might have read in my soul the answer 
 which told him what was best for his own 
 interest, and that of the world of art. For 
 my part, I never had a doubt as to the course 
 which was most advisable for him to adopt ; 
 but I did not wish to awaken him too early 
 
 * 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 commence- 
 ment o{i\iQ Adagio in the Sonata, Op. 106, place these two 
 notes fofthe first bar." Ries expresses great astonishment 
 at the effect produced by the two notes.
 
 92 LIFE OF BEETHOVEN. 
 
 from a dream which I well knew would 
 speedily be succeeded by others. I however 
 turned to useful account the conversations I 
 had with Beethoven on this topic, for I care- 
 fully noted down all the remarks he made on 
 his works, in reference to subject, conception, 
 and performance. These remarks came to 
 me the more opportunely as I was then em- 
 ployed in the orchestra of the Josephstadt 
 Theatre to lead several of his Symphonies, each 
 of which he previously went over with me at 
 home, strongly impressing on my attention 
 whatever had reference to those three essential 
 points ; thus initiating me into the soul and 
 spirit of his orchestral compositions, as he 
 had already introduced me to a just compre- 
 hension of nearly the whole of his pianoforte 
 Sonatas. These are instances of good fortune 
 wdiich few have had the happiness to enjoy. 
 
 The new perceptions thus acquired were 
 to me an intellectual property, which I have 
 ever since regarded as the dearest and most 
 inestimable legacy of my immortal friend and 
 instructor. They have imparted, not only to 
 myself, but to others, whom, for their kindred
 
 LIFE OF BEETHOVEN. 93 
 
 feeling for Beethoven's music, I thought 
 worthy of a participation in my good fortune 
 — a thousand pleasurable sensations and ex- 
 alted enjoyments which nothing else in the 
 whole domain of music could have power to 
 create ; for it has already been remarked that 
 Beethoven's collected chamber - music, and 
 especially the greater part of his pianoforte 
 Sonatas, comprise a fund of musical poetry 
 more deep and inexhaustible than can be 
 found even in his other works. That Nature 
 is chary in her gifts of that organization which 
 possesses the susceptibility necessary for ap- 
 preciating such elevated compositions, is not 
 the fault of Beethoven. That fact serves only 
 to confirm the truth of the maxim, that in art 
 the great is not for all, and all are not for the 
 great.* 
 
 * That this maxim admits, in our unpoetic and superfi- 
 cial 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
 
 94 LIFE OF BEETHOVEN. 
 
 In the year 1831, when I wrote the musical 
 notices then inserted in the supplement to 
 the TViener Theater Zeitung, I alluded in 
 No. 2 of those notices to Beethoven's Sym- 
 phony in A major. In that article I casually 
 mentioned that Beethoven intended to give 
 
 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 men- 
 tion 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 feel- 
 ing, because their talents are exercised only in a small circle 
 of musical friends of their own choice. Such persons, how- 
 ever, always remain mere dilettanti, as they do not cease to 
 fulfil those duties which their domestic or other social rela- 
 tions 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. Schunian. — Ed.
 
 LIFE OF BEETHOVEN. 95 
 
 the keys to many of his instrumental compo- 
 sitions, in the manner of the Pastoral Sym- 
 phony. The impression produced by this 
 article was precisely sucli as was to be ex- 
 pected : it. excited a mere transitory sensa- 
 tion, and was soon forgotten, like everything 
 which departs from the boundaries of common 
 routine, and approaches the region of ideality. 
 Several years have elapsed since that time : 
 I am so much the okler, and so much the less 
 vain, and I am now the better enabled to see 
 how frequently Avell-meant obser\'ations, nay 
 positive truths, are disregarded, even when 
 they come from high authority. Of course 
 the actual authority in this instance was Beet- 
 hoven alone. It has already been shown in 
 the narrative of his life, how he was prevented 
 from executing this as well as many other 
 important undertakings which he had planned. 
 If I now venture to publish some of the re- 
 marks Avhich I noted down from his own 
 mouth, in reference to the subject, concep- 
 tion, and performance of his works ; or try 
 to describe some of the vivid impressions
 
 96 LIFE OF BEETHOVEN. 
 
 which his instructions have left on my mind ; 
 I do so in the just expectation that the value 
 of these communications will be first tried and 
 afterwards judged. I do not apprehend that 
 I can in any* degree be accused of arrogant 
 pretension in taking upon myself the per- 
 formance of this task, because it is known to 
 many persons, that, in my intimate relations 
 with Beethoven, during the most important 
 interval of his life, 1 must necessarily have 
 becQme possessed of many important facts : 
 it will also be recollected that, though thirteen 
 years have elapsed since his death, I have not 
 been prompted by any feeling of ostentation to 
 communicate those facts to the public. To 
 speak candidly, I should not even now think 
 of parting with any portion of my friend's 
 intellectual legacy, were it not from the firm 
 conviction that the present is the right moment 
 for so doing; for the sensual music of the day, 
 and the overstretched mechanical dexterity of 
 modern pianoforte playing, bid fair to thrust 
 the intellectual compositions of Beethoven 
 into the shade, if not to consign them entirely
 
 LIFE OF BEETHOVEN. 9? 
 
 to oblivion,* Moreover, it must be borne in 
 mind that Beethoven's instrumental music 
 has undergone a metamorphosis, occasioned 
 in some measure by the composer himself; 
 but chiefly by the spirit of the age, which is 
 daringly opposed to every thing great and 
 elevated, and even hesitates not to profane 
 that which is most sacred. 
 
 ^Vith respect to Beethoven's share in the 
 metamorphosis of his instrumental music, 
 and particularly of his Symphonies, it is ne- 
 cessary first to acquaint the reader that this 
 metamorphosis relates wholly and solely to 
 metronomifiing, or the regulation of time by 
 means of the metronome. 
 
 * So far as my observation goes, it inclines me to dissent 
 from this opinion. Not only are the new editions of Beet- 
 hoven's works substantial evidences that his magnificent 
 and various talent finds an increasing number of worship- 
 pers 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. 
 
 VOL. 11. F
 
 98 LIFE OF BEETHOVEN. 
 
 Those who have read IMathesou's " Voll- 
 kommener Kapell-meister " are aware that 
 that great writer on music laid down, a cen- 
 tury ago, the following principle * — " That 
 the tempo of a great musical composition de- 
 pends on the manner in which it is set for 
 orchestra and chorus ; for the greater the 
 number of singers and players, the slower 
 should be the tempo, on the simple principle 
 that masses always move slowly." If intelli- 
 gibility be the most essential condition in the 
 performance of a musical composition, it is 
 self-evident that the direction for the tempo 
 can only be conditional ; and that, conse- 
 quently, an Allegro vivace, with an orchestra 
 of one hundred and twenty performers, must 
 become very considerably modified from the 
 same Allegro vivace originally metronomised 
 by the composer for an orchestra of sixty. 
 That which, in the latter case, is, as it were, 
 a condition of the intended effect, ceases to 
 be such in the former case, because the 
 
 * Matheson's " Vollkommener Kapell-iueister " was 
 published at Hamburgh, in 1739.
 
 LIFE OF BEETHOVEN. 99 
 
 object may already be obtained, a priori, 
 through the two-fold power being commu- 
 nicated. The fuller orchestra should there- 
 fore take a less rapid time than that spe- 
 cified for the more limited number of per- 
 formers. 
 
 Unluckily this important principle in the 
 conducting of an orchestra is but too seldom 
 recognised, even by those who are regarded 
 as authorities in orchestral direction. I have 
 had frequent occasion to remark this neglect, 
 occasioned by ignorance in the performance 
 of Beethoven's works ; and in those cases the 
 effect was, of course, a true offspring of the 
 cause, and exhibited a total misconception of 
 the real spirit of the compositions. To per- 
 form Beetlioven's music, without regard to 
 jneaning and clearness, is hunting to death 
 the ideas of the immortal composer. This 
 mode of performance naturally arises out of 
 the manifest ignorance of the sublime spirit 
 of those works. It is at the same time the 
 cause of their profanation, and consequently 
 of their having too soon fallen into disuse ; 
 
 f2
 
 100 LIFE OF BEETHOVEN. 
 
 for the dignity and deep expression of many 
 of the movements are sacrificed when a mo- 
 derate rhythm is converted into the rhythm 
 of dancing-time, especially if to this accele- 
 rated time he added the clang of a supera- 
 bundant number of instruments. Hence may 
 be traced the principal cause of that meta- 
 morphosis which suffices to convert a compo- 
 sition of lofty poetic feeling into a common 
 prosaic piece* — a transformation which the 
 performers may literally be said to work out 
 by the sweat of the brow. Such a perverted 
 mode of execution must render it impossible 
 for the most attentive listener to feel the sub- 
 limity of the composer's idea.t 
 
 * There is so much intrinsic spirit and value in Beet- 
 hoven'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. 
 
 f The reader may deem it not uninteresting to be made 
 acquainted with Mozart's opinion with reference to the un-
 
 LIFE OF BEETHOVEN. l€l 
 
 Beethoven lived to see this transformation 
 of his works. On one occasion, when he 
 was present at a performance of his Sym- 
 phony in A major, by the orchestra of the 
 great music meeting in Vienna, he was very 
 much displeased at the too rapid time taken 
 in the second movement, the Allegretto. 
 However, upon reflection, he acknowledged 
 that the conductor had duly observed the me- 
 tronomic sign affixed to the movement, but 
 that he had not attended to Matheson's doc- 
 trine. In one of the musical articles which 
 I wrote for the Wiener Theater Zeitung, in al- 
 luding to the Symphony in A major, I related 
 the above fact in the following words : — " At 
 a performance of this Symphony, in the latter 
 years of Beethoven, the composer remarked, 
 
 satisfactory manner in which his compositions were some- 
 times 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.)
 
 102 LIFE OF BEETHOVEN. 
 
 with displeasure, that the allegretto move- 
 ment was given much too fast, by which 
 its character was entirely destroyed. He 
 thought to obviate for the future all miscon- 
 ception of the tempo, by marking the move- 
 ment by the words Andante, quasi Alle- 
 gretto, with the metronomic sign f = so . ; 
 and I find a memorandum to this effect in his 
 note-book, which is in my possession. Beet- 
 hoven complained generally of the misunder- 
 standing of the tempi at the concerts of the 
 great Vienna Musical Society, and especially 
 that the task of principal conductorship on 
 those occasions was always consigned to the 
 hands of dilettanti, who were unused to di- 
 rect and govern large masses of performers. 
 These causes of dissatisfaction led Beet- 
 hoven one day to make the important de- 
 claration, that he had not composed his 
 Symphonies for such vast orchestras as that 
 usually assembled for the Vienna Musical 
 Society ;* and that it never was his intention 
 
 * The structure and extent of the hall of the great Impe- 
 rial Ridotto at Vienna, in which the concerts of the Musical 
 Society are held, renders a powerful orchestra necessary.
 
 LIFE OF BEETHOVEN. 103 
 
 to write noisy music. He added, that his in- 
 strumental ^^orks required an orchestra of 
 about sixty performers only ; for he was con- 
 vinced that it was by such an orchestra alone 
 that the rapidly-changino- shades of expression 
 could be adequately given, and the character 
 and poetic subject of each movement duly 
 preserved.* That this declaration was dic- 
 tated by sincere conviction will be readily 
 admitted when I acquaint the reader that 
 Beethoven was anxious to have his works 
 performed in their true spirit, at the Concerts 
 Spirituels, the orchestra of which contained 
 something like the number of performers he 
 had specified ; and that he did not interest 
 himself about their performance at the great 
 music meeting. If double the amount of 
 sixty performers displeased Beethoven, what 
 would he have said of three or four times that 
 number, no unusual orchestral occurrence at 
 our music-festivals ? What would he have said 
 had he heard his Symphonies and Overtures 
 
 * This was the exact number of performers on the occa- 
 sion when his Symphonies were first brought forward.— Ed.
 
 104 LIFE OF BEETHOVEN. 
 
 performed by an orchestra increased by re- 
 pieni, the only one admissible at Oratorios, and 
 in which noise is paramount ? Even I\I. Ries 
 has had the Symphonies performed l)y such 
 an orchestra, at the Lower Rhine music- 
 festival ; to this I was myself on one occasion 
 a witness. Had Beethoven been present, he 
 •would doubtless have exclaimed, " My dear 
 pupil, how little do you understand me ! " 
 A few movements only of Beethoven's Sym- 
 phonies (for example, the last of that in a ma- 
 jor, and the last of the ninth Symphony) are 
 suited to an orchestra in which the number of 
 performers amounts to three or four times 
 sixty. 
 
 His own observations, coupled with ac- 
 counts received from various places, describ- 
 ing the ineffective performance of the Sym-* 
 phonies in consequence of mistaken ideas of 
 their tempi, induced Beethoven, in the winter 
 of 1825-26, to investigate the cause of the 
 errors. This he did in my presence, and he 
 ascertained that the metronomic signs in the 
 printed scores were faulty, in fixing the
 
 LIFE OF BEETHOVEN. 105 
 
 tempt too quick ; and, indeed, he declared 
 that many of those metronomic signs were 
 not authorised by him. I may here mention 
 that the Symphonies, from No. 1 to No. 6 
 inclusive, were published before the invention 
 of Maelzel's metronome ; and it is only to tlie 
 7th and 9th Symphonies that the metronomic 
 signs can, with positive certainty, be said to 
 have been given by Beethoven. Whether or 
 not he metronomed the 8th Symphony (the 
 score of which was only lately published) I 
 cannot positively determine. I do not recol- 
 lect having heard him speak of metronom- 
 ing that Symphony, though a great deal of 
 conversation passed between us on the sub- 
 ject of the composition itself. 
 
 The same may be said in reference to his 
 Sonatas. Only to those published since 
 Maelzel's invention have the metronomic 
 signs been affixed l)y Beethoven's own hand. 
 These do not exceed four in number ; viz., 
 Op. 106, 109, no, and 111. Those who 
 have added metronomic indices to the other 
 Sonatas, in the various editions that have 
 
 F 3
 
 106 LIFE OF BEETHOVEN. 
 
 been published, prove, by the result of their 
 labour, that they were as little acquainted 
 with the spirit of Beethoven's music as are 
 the inhabitants of this world with the trans- 
 actions going on in the moon or in Saturn. 
 That piano-forte virtuosi, even of the highest 
 rank, should have presumed to act the part of 
 interpreters and law-givers in Beethoven's 
 music* is a matter of regret rf and all true 
 
 * The metronomic sign may be compared to a paragraph 
 of a code of laws which is cited as an authority for the deci- 
 sion in some particular case. The dictating movement of 
 the metronome facilitates a just comprehension of a mu- 
 sical 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. 
 
 f By way of excepting myself from the sweeping censure 
 here bestowed upon all who have attempted to fix the me- 
 tronomic 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 metro- 
 nomising the several compositions, I have not merely list- 
 ened 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
 
 LIFE OF BEETHOVEN. 107 
 
 admirers of the great master, who may 
 '.vish to form a just notion of his Sonatas, 
 either as to conception or execution, shoukl 
 be earnestly Avarned not to listen to their 
 performance by any virtuoso Avho has la- 
 boured all his life on difficult passages, 
 having only in view to improve the mechani- 
 cal power of the fingers ; unless, indeed, it 
 be merely bravura movements ; of which, 
 thank Heaven, there are but few among these 
 compositions. Beethoven truly remarked, 
 " that a certain class of piano-forte perform- 
 ers seemed to lose intelligence and feeling in 
 proportion as they gained dexterity of linger- 
 ing." What can such bravura players make 
 of the melodies of Beethoven, so simple yet 
 so profoundly imbued with sentiment ? Pre- 
 
 entire satisfaction, at the musical meetings alluded to by 
 M. Schindler in this work, vol. i, p. 183, and at Mr. Zmes- 
 kall'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 dififer very slightly from those affixed to Haslinger's 
 Vieuiia edition, by Carl (,'zerny, whom I consider to be a 
 competent authority in the matter. — Ed.
 
 108 LIFE OF BEETHOVEN. 
 
 cisely what Liszt* makes of Schubert's songs 
 — what Paganini made of the Cantilena in 
 Rode's concerto — and what Riibini makes of 
 Beethoven's " Adelaide." All these, it must 
 be acknowledged, are tasteless perversions of 
 beautiful originals — violations of truth and 
 right feeling in all those points in which 
 such offences can be most sensibly felt. 
 
 To point out only one example of the in- 
 jury inflicted on Beethoven's music by pro- 
 fessional metronoming, I may mention the 
 metronomic signs of the two Sonatas (Op. 27) 
 in the recently published Vienna and London 
 editions ; the very sight of tliem occasions 
 surprise : but to hear these Sonatas played 
 according to the metronomic signs affixed to 
 them, leads one to wish that all piano-forte 
 metronomers were put under the ban.f But 
 
 * Did notM. 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. 
 
 t 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.
 
 LIFE OF BEETHOVEN. 109 
 
 even this is not the only cause of complaint 
 against these perverters of all truth in ex- 
 pression. Are they not the very men who 
 by their frivolities, romantic and unromantic, 
 have latterly given to the taste for truly good 
 and classic composition that unhealthful di- 
 rection which threatens soon to bring all 
 genuine music under the dominion of the 
 superficial — if, indeed, it has not already 
 submitted to that authority ? Is not their 
 handiwork (art, it cannot be called) directed 
 solely to the object of pleasing the multitude, 
 and on that account nmst they not descend 
 to the level of vulgar taste ? Since Hum- 
 mel's death there perhaps exists not, in Ger- 
 many especially, any professor of the piano- 
 forte, F. JNIendelssohn Bartholdy excepted, 
 w ho, fired by enthusiasm, keeps in view the 
 honourable object of elevating his hearers to 
 the standard of his own high feeling — a duty 
 which Art demands from all her devotees, 
 whether professors or dilettanti. 
 
 The Sonata in c sharp minor, Op. 27, 
 (called the Moonlight Sonata), is metro-
 
 110 LIFE OF BEETHOVEN. 
 
 nomed as follows in the edition lately pub- 
 lished by T. Haslinger, of Vienna : — 
 I. Adagio, I ==; 60. 
 II. Allegretto, ° ^ 84. 
 III. Presto agitato, °| = 92. 
 In the London edition of Beethoven's piano- 
 forte works, edited by J. Moscheles, the same 
 Sonata has affixed to it the following metro- 
 nomic directions : — 
 
 I. Adagio, I r=r 60. 
 
 II. Allegretto, ^, = 76. 
 
 III. Presto agitato, °j = 92. 
 
 In the Vienna edition of the Sonata in E flat 
 major, the metronomic directions are as fol- 
 low : — 
 
 I. Andante, [ =72, 
 II. Allegro, I ••r= 116. 
 
 III. Allegro molto vivace, - "^j*:^ 138. 
 
 IV. Adagio, ^ =:z 69. 
 
 V. Finale, allegro vivace, [ rr= 160. 
 In the London edition the different move- 
 ments of the same Sonata are thus marked : — 
 I. Andante, i -:=: 6 9.
 
 LIFE OF BEETHOVEN. Ill 
 
 II. Allegro, I 1**104. 
 
 III. Allegro molto vivace, - '^\^= 126. 
 
 IV. Adagio, ^ = 76. 
 
 V. Finale, allegro vivace, | =132. 
 What a Babel of confusion as to the right 
 feeling, and what confusion also in regard to 
 the conception of Beethoven's sacred legacy 
 to posterity is thus exhibited !* and similar in- 
 consistencies are apparent throughout all his^ 
 
 * In this angry denunciation against raetronomising M. 
 Schindler goes too far. The musical world knows, that 
 marking the time by a metronome is but a sHght guide for 
 performers and conductors. Its object is to show the gene- 
 ral 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 ex- 
 pression, 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. (SeeM. Schindler's own sub- 
 sequent words on this subject, pp. 110 and 117.) The player 
 or conductor, who enters into the time and sjarit of the piece 
 must feel when anitvhere he has to introduce the necessary 
 changes : and these are often of so deUcate a nature, that 
 the marks of the metronome would become superabundant, 
 not to say impossible. This duly considered, the differ- 
 ences in the metronomic signs heredenounced will be found 
 too trifling to draw forth such animadversions. — Ed.
 
 112 LIFE OF BEETHOVEN. 
 
 works in these new editions.* Who does not 
 Avith deep regret feel that such gross neglect 
 amounts almost to profanation of the works of 
 the great master? Are, then, these divine 
 compositions to be converted into show pieces 
 for the performance of professional piano-forte 
 players ? Nevertheless, I am bound to admit 
 that some of the tempi, as marked in the new 
 London edition, approximate more nearly to 
 the composer's original intention. 
 
 The fashion of the day tends to preclude 
 any one from attempting to play one of Beet- 
 hoven's Sonatas who has not for a year toge- 
 ther practised the hand and finger-spraining 
 exercises of modern performers. What is 
 now-a-days thought of a simple Allegro, as 
 written by Mozart or Beethoven ? It is con- 
 verted into a Presto ; and so other movements 
 are accelerated in gradation. And, truly, 
 this is the method whereby the works of these 
 
 * 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 alia Madami- 
 gella Contessa Giulietta di Guicciardi."
 
 LIFE OF BEETHOVEN. 113 
 
 great masters, already become antiquated, are 
 accommodated to modern taste ! 
 
 It is not yet very long since an assiduous 
 practice of the Studies of Aloys Schmidt and of 
 John Cramer used to smooth the way of the in- 
 telligent pianist to the most difficult works of 
 Beethoven ; and if greater mechanical dexterity 
 of lingering was required to make the path 
 more secure, the Studies of Hummel, Mos- 
 cheles, or Kalkbrenner were found sufficient. 
 But what would the practice of these exer- 
 cises now avail ?* They would not enable the 
 student to play the first three Sonatas of 
 Beethoven according to the newest fashion. 
 What, then, it may be asked, becomes of 
 feeling and expression which ought to have 
 room to develop themselves, so that in certain 
 passages the tone may seem, as it were, to sing 
 and reverberate ? Where now is feeling — 
 
 ♦ 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 pres- 
 tissimo ^\)%cA, of the great master's Sonatas. — Ed.
 
 114 LIFE OF BEETHOVEN. 
 
 where expression, and, indeed, where opportu- 
 nity for the manifestation of any sensibility ? 
 Let Beethoven's piano-forte works be played 
 according to the new metronomic directions, 
 and it will soon be perceived that no more 
 opportunity is left for feeling and expression 
 than the most rapid fingering affords ; and 
 that this rule extends even to the execution 
 of the Adagio. 
 
 In this state of things the best advice that 
 can be given to the piano-forte practitioner is 
 — Shun all metronomic directions, be they 
 given by whom they may* — turn from them. 
 as you would from the misleading lights of 
 ignes-fatui — set to work with the right spirit 
 and the preliminary knowledge for the task, 
 and apply to all the works of Beethoven 
 the composer's words — " No metronome, 
 &c."t Thus you will with certainty attain 
 the wished-for object, and be spared the 
 mortification of renouncing your own feel- 
 
 * Beethoven himself? — Ed. 
 
 f I shall presently have occasion to quote a remark of 
 Beethoven's, in which the above words occur.
 
 LIFE OF BEETHOVEN. 115 
 
 ings to substitute those of another in their 
 stead. 
 
 Moreover, while examining the metro- 
 nomic signs affixed to his works by their 
 different editors, Beethoven discovered that 
 the metronomes themselves vary one from 
 another ; an inconvenience which has been 
 greatly increased since Beethoven's time, by 
 numerous counterfeits. He perceived, for 
 example, that the fourth movement of the 
 Symphony in c minor was deprived of all dig- 
 nity when performed in the accelerated time 
 indicated thus "'i = ^*- ; and that, in the 
 fourth movement of the Symphony in b flat 
 major, the metronomic sign was a decided con- 
 tradiction to the Italian words " Allegro ma 
 non tanto ;" whilst the movement, if performed 
 in accordance with the metronomic direction, 
 would be a mere mass of confusion, such 
 rapid time being incompatible with a suffi- 
 ciently clear and distinct execution of the 
 semiquaver passages by the bow instruments. 
 He now saw the necessity of directing his 
 attention to a more careful adaptation of the
 
 116 LIFE OF BEETHOVEN. 
 
 metronomic signs, so as to give a slower time 
 to most of the allegro movements. But ex- 
 cessive occupation, added to the different 
 strokes of adverse fortune Avliich have been 
 detailed in the biographical portion of the 
 present work, prevented him from entering 
 upon this important task. Besides, he called 
 the metronoming a mere " business " matter, 
 and this view of the labour tended to increase 
 his distaste for it. The publishers of his latter 
 works must be aware how dilatory he was in 
 determining the metronomic signs which were 
 frequently obtained from him only after re- 
 peated correspondence. An example of this 
 is proved by his letters of the 16th and 30th 
 of April, 1819, addressed to M. Ries in Lon- 
 don.* Moreover, when it happened that 
 Beethoven metronomed the same work twice 
 over, he marked the tempi differently each 
 
 * " The tempo of the Sonata, fixed by Maelzel's metro- 
 nome, 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.
 
 LIFE OF BEETHOVEN. 117 
 
 time. A striking example of this occurred 
 with respect to the ninth Symphony, which he 
 first metronomised for the publisher, and then 
 several months afterwards for the Philhar- 
 monic Society of London.* In the latter in- 
 stance he made tlie signs for every movement 
 differ from those which he had adopted in the 
 former case ; making the tempi sometimes 
 quicker and sometimes slower ; and when I 
 accidentally found the copy of the first me- 
 tronomising which he had marked for the 
 Messrs. Schott, he answered impatiently, 
 " Better no metronome !'|' He who has correct 
 
 * The leader will recollect Beethoven's letter to Mos- 
 cheles, rhted March 18th, 1827, alluded to in the third pe- 
 riod. In that letter he enclosed the metronomic signs for 
 the Ninth Symphony, after the Symphony to which those 
 sisns heloniied had been some time in London. 
 
 i If Beethoven, though acknowledging the useful adapt- 
 ability of the metronome, was, nevertheless, frequently un- 
 determined, 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. Ano- 
 ther 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-
 
 118 LIFE OF BEETHOVEN. 
 
 feeling has no need of it ; and to him who 
 does not possess that feeling it is equally use- 
 less, for he runs astray, and the whole orches-^ 
 tra with him." This truth is confirmed by 
 frequent experience. If it were recognised 
 by every orchestral director, together with old 
 Matheson's maxim, the works of Beethoven 
 and other great masters would never be 
 brought down from their lofty elevation, and 
 we should secure their purity and imperish- 
 ability, which is the common duty of us all.* 
 I was much gratified to observe M. Ha- 
 beneck's judicious regulations of time in the 
 performance, under his direction, of Beetho- 
 ven's works at the Conservatory in Paris. 
 An impression of the very contrary was con- 
 ceived by Beethoven himself; for, during his 
 lifetime it u*sed to be said, that in Parisian 
 orchestras the over-rapid performance of his 
 quick movements made them resemble qua- 
 drilles and gallopades. It is however possible, 
 that in France, as in Germany, this error 
 may be traced to the incorrect metronomising 
 which was held to be unquestionable autho- 
 
 * See my note, p. 100. — Ed.
 
 LIFE OF BEETHOVEN. 119 
 
 rity, until M. Habeneck discovered the root 
 of the evil, and proved that the Rossinian 
 " effetto ! efFetto!" was no longer to beheld 
 identical with the dignity and grandeur of 
 Beethoven's poetic music. 
 
 Let us hope that among the musicians of 
 France there will speedily arise some few 
 who, unfettered by the bonds of fashion, and 
 devoid of egotism, will turn with a pure and 
 deeply poetic spirit to the piano-forte works 
 of Beethoven, and draw freely from the ever- 
 living waters of that sacred well which the 
 Muses have consecrated. Much has already 
 been done in France by Franz Liszt, who so 
 thoroughly comprehends the spirit of Beetho- 
 ven. But the efforts of one individual are 
 insufficient for the wide diffusion of important' 
 principles. The advantage which may be 
 derived from Beethoven's piano-forte compo- 
 sitions is yet almost wholly unknown to 
 French pianists, as I have had frequent op- 
 portunities to ol)serve, and nothing has so 
 greatly contributed to create this unfortunate 
 ignorance as the absurdly refined mechanism
 
 120 LIFE OF BEETHOVEN. 
 
 of piano-forte playing, which, years ago, 
 Beethoven justly feared would banish all 
 truth of feeling from music. In a letter 
 which he addressed to Ries, dated July 26th, 
 1823, he alludes to certain •' Allegri di Bra- 
 vura, which demand too much mechanism of 
 fingering, and therefore he does not admire 
 them." Indeed, the only piano-forte compo- 
 sitions of Beethoven which have hitherto 
 obtained attention from the French, and. I 
 may add, from most of the German pianists, 
 are such as afford scope for the display of 
 mechanical dexterity. Compositions of this 
 class being precisely those which are charac- 
 terised by an exuberant freedom of fancy, are 
 inferior in poetic spirit to his other piano- 
 forte works. These latter are, however, far 
 more difficult to comprehend and to perform 
 than those which merely demand a greater 
 degree of digital dexterity. That cheval de 
 bataille for fleet-fingered pianists, the Sona- 
 ta, Op. 57, is, of all Beethoven's Sonatas, 
 (without accompaniments) after Op. 30, the 
 only one on which they take their full re-
 
 LIFE OF BEETHOVEN. 121 
 
 venge; and I affirm, with a thorough con- 
 viction of being correct, that, out of a hun- 
 dred pianists whose talent is swayed by the 
 dominion of fashion, it would be difficult to 
 find two who know anything of these Sonatas, 
 with the exception of Op. 57. Of the Sona- 
 tas, from Op. 2 to Op. 30 inclusive, there 
 are but few that have the honour of beinff 
 known to the legion of fashionable piano- 
 forte players. The gods whom this legion 
 worship have no place among the Immortals ; 
 and if we estimate their productions by the 
 standard of art, they must be ranked on a 
 level with those musical idols of the day 
 whose chief merit is that they set the feet of 
 the multitude in motion. 
 
 The limited knowledge of Beethoven's 
 Sonatas in Germany may be attributed to the 
 jircumstance of our teachers placing those 
 works at too early a period before their 
 pupils. They forget that, for a due comprehen- 
 sion of the highest style of art, a sum of 
 knowledge and experience, a certain de- 
 gree of mental maturity, are required, with- 
 
 VOL. If. G
 
 122 LIFE OF BEETHOVEN. 
 
 out which all endeavours to force a taste 
 for the most elevated objects will be vain, or 
 possibly productive of disgust. The study of 
 Beethoven's music should be earnestly entered 
 upon, after the mind has been cultivated by 
 a course of education at once philosophic and 
 elegant : without such a preparation, the study 
 will infallibly be harassing and disagree- 
 able, even to those who possess more than 
 common susceptibility for musical poetry. 
 Music is the offspring of deep feeling, and by 
 deep feeling alone can its genuine beauties 
 be comprehended and enjoyed. 
 
 Now, with regard to the Sonatas, I have 
 further to observe that the hints which I re- 
 ceived from Beethoven on the subject of their 
 composition, and the proper style of their 
 performance, had direct reference to only a 
 few of those compositions. Still, no doubt, 
 many persons will be gratified by what I 
 have to communicate. To the intelligent 
 lover of music these hints will afford matter 
 for reflection, whereby he may not only more 
 thoroughly comprehend the works in. ques-
 
 LIFE OF BEETHOVEN. 123 
 
 tion, but also, by the help of the key thus 
 obtained, open for himself a path to the know- 
 ledge of other compositions of the like kind, 
 imbued with the like soul and spirit. 
 
 Among the most rich in materials, and, 
 unfortunately, among the least known, are 
 the two Sonatas comprised in Op, 14. The 
 first is in e major, and the second in g major. 
 Both these Sonatas have for their subject a 
 dialogue between a husband and wife, or a 
 lover and his mistress. In the second Sonata, 
 this dialogue, with its signification, is very 
 forcibly expressed, the opposition of the two 
 principal parts being more sensibly marked 
 than in the first Sonata. By these two parts 
 Beethoven intended to represent two prin- 
 ciples, which he designated the entreating and 
 the resisting. Even in the first bars the con- 
 trary motion marks the opposition of these 
 principles. 
 
 G 2
 
 124 
 
 LIFE OF BEETHOVEN. 
 
 — ^^ — I- 
 ■•-+-4 
 
 911: 
 
 3. 
 
 '^S=z 
 
 By a softly gliding transition from earnest 
 gravity to tenderness and feeling, the eighth 
 bar introduces the entreating principle alone. 
 ^# . » . ^ ,<g ^"'^ ^ 
 
 '?_d9— I— « — a — a — a^-JJ B a — — — C 
 
 ► — 9 — ©- 
 
 Cres. 
 
 fi 
 
 9li_^i 
 
 « — -•- 
 
 -H-#-H---j-H-9-' 
 
 IS i'—jii. 
 
 s 
 
 This suing and flattering strain continues 
 until the middle part is taken up in d major, 
 when both principles are again brought into 
 conflict, but not with the same degree of 
 earnestness as at the commencement. The 
 resisting principle is now relaxing, and allows 
 the other to finish without interruption the 
 phrase that has been begun. 
 
 In the following phrase —
 
 LIFE OF BEETHOVEN. 
 
 125 
 
 both approximate, and the mutual under- 
 standing is rendered distinctly perceptible by 
 the succeeding cadence on the dominant. 
 
 In the second section of the same move- 
 ment the opposition is again resumed in the 
 minor of the tonic, and the resisting principle 
 is energetically expressed in the phrase in a 
 flat major. To this succeeds a pause on the 
 chord of the dominant, and then in e flat the 
 conflict is again resumed till the tranquil 
 phrase 
 
 •1 .'^ tT r- 
 
 comes in as it were like a preparation for 
 mutual concord, for both repeat several times
 
 126 
 
 LIFE OF BEETHOVEN. 
 
 the same idea, resembling an interrogation, 
 beginning slowly, and with lingering pauses, 
 then over and over again in rapid succession. 
 The introduction in the tonic of the principal 
 motivo renews the conflict, and the feelings 
 alternate as in the first part ; but, at the con- 
 clusion of the movement, the expected conci- 
 liation is still in suspenso. It is not com- 
 pletely brought about until the end of the 
 Sonata, when it is clearly indicated, and as it 
 were expressed, on the final close of the piece, 
 by a distinctly articulated " Yes !" from the 
 resisting principle. 
 
 Allegro assai. ^^^^ "•^ «^ 
 
 M. 
 
 -*^a( — T^2 
 
 P. 
 
 
 « — 
 
 I'S^ ^H 1^^ 
 
 
 SS^i? 
 
 
 err 
 
 
 P 
 
 -F--
 
 LIFE OF BEETHOVEN. 127 
 
 Then was not Beethoven justified in saying, 
 that the poetic idea which had stimulated his 
 imagination in the composition of this work 
 was quite obvious ? In fact, is not the 
 explanation of every individual phrase per- 
 fectly natural? Of this let any one con- 
 vince himself, by comparing the above in- 
 dication of the design with the Sonata 
 itself 
 
 But the reality and certainty of the com- 
 poser's intention is fully obtained only on the 
 performance of the piece, the difficulty of 
 which, be it observed, is much greater than it 
 is generally believed to be. For example, 
 words directing the quickening or retarding 
 of the time, such as accelerando, ritardando. 
 See, do not, in their ordinary acceptation, 
 convey an adequate idea of the wonderfully 
 delicate shading which characterized Beet- 
 hoven's performance ; and on this account 
 he would have experienced great impedi- 
 ments had he proceeded mth his intended 
 revisal of many other works in the like style. 
 This obstacle he clearly foresaw. 
 
 JM. Ries, alluding to the Sonate Pa-
 
 128 LIFE OF BEETHOVEN. 
 
 thetique, p. 106 of his Notizen, makes the 
 following remarks on the performance of 
 Beethoven : — " In general, he played his own 
 compositions in a very capricious manner ; 
 he nevertheless kept strictly accurate time, 
 occasionally, but very seldom, accelerating 
 the temjn. On the other hand, in the per- 
 formance of a crescendo passage, he would 
 make the time ritardando, which produced 
 a beautiful and highly striking effect. Some- 
 times in the performance of particular pas- 
 sages, whether with the right hand or the 
 left, he would infuse into them an exquisite, 
 but altogether inimitable expression. He 
 seldom introduced notes or ornaments not set 
 down in the composition." Yes, it may truly 
 be said that the expression was inimitable ! 
 What the Sonate Pathetique became under 
 the hands of Beethoven — though he left much 
 to be desired on the score of pure execution 
 — can only be conceived by those who have 
 had the good fortune to hear it played by 
 him. Yet it required to be heard over and 
 over again before one could be convinced 
 that it was a work, by name at least, already
 
 LIFE OF BEETHOVEN. 129 
 
 well known. In short, all music performed 
 by his hands appeared to undergo a new 
 creation. These wonderful effects were in a 
 great degree produced by his uniform legato 
 style, Avhich was one of the most remarkable 
 peculiarities of his playing.* 
 
 All the pieces which I have heard Beet- 
 hoven himself play were, with few excep- 
 tions, given without any constraint as to the 
 rate of the time. He adopted a tempo- 
 rubato in the proper sense of the term, 
 according as subject and situation might 
 demand, without the slightest approach to 
 caricature. Beethoven's playing was the 
 most distinct and intelligible declamation, 
 
 * 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 atac- 
 caio style, especially in the performance of phrases, and he 
 derisively termed it " fingcr-danc-ing," 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. 
 
 g3
 
 130 LIFE OF BEETHOVEN. 
 
 such, perhaps, as in the same high degree 
 can only be studied in his works. His old 
 friends, who attentively watched the develop- 
 ment of his genius in every direction, declare 
 that he adopted this mode of playing in the 
 first years of the third period of his life, and 
 that it was quite a departure from his earlier 
 method, which was less marked by shading 
 and colouring; thence it appears that his 
 perceptive sagacity had then discovered a 
 sure method of throwing open, to the un- 
 learned as well as the initiated, a door to 
 the mysterious workings of his imagination. 
 In the performance of his quartett music he 
 wished the same rules to be observed as in 
 playing his Sonatas ; for the Quartetts paint 
 passions and feelings no less than the Sonatas. 
 Among the latter, however, there are several 
 in which a strict observance of time is indis- 
 pensable ; scarcely permitting, much less 
 demanding, any deviation from regularity. 
 Those compositions require to be played in 
 what is termed the bravura style; they are 
 Op. 106, 111, 57, and some others.
 
 LIFE OF BEETHOVEN. 131 
 
 I will now, as far as. verbal description may 
 permit, endeavour to convey an idea of the 
 manner in which Beethoven himself used to 
 play the two Sonatas contained in Op. 14. 
 His wonderful performance of these composi- 
 tions was a sort of musical declamation, in 
 which the two principles were as distinctly 
 separated as the two parts of a dialogue 
 when recited by the flexible voice of a good 
 speaker. 
 
 He commenced the opening Allegro with 
 vigour and spirit, relaxing these qualities at 
 the sixth bar, and in the following passage : — 
 
 E3E 
 
 — & — 
 
 Here a slight ritardando made preparation 
 for gently introducing the entreating prin- 
 ciple. The performance of the plirase — 
 
 ores. fz 
 
 was exquisitely shaded, and to the following 
 bars : —
 
 132 
 
 LIFE OF BEETHOVEN. 
 
 ■-s^'- 
 
 
 -^^ — i— •- 
 
 Beethoven's manner of holding down par- 
 ticular notes, combined with a kind of soft 
 gliding touch, imparted such a vivid colour- 
 ing, that the hearer could fancy he actually 
 beheld the lover in his living form, and heard 
 him apostrophising his obdurate mistress. 
 Tn the following groups of semiquavers — 
 
 he strongly accented the fourth note of each 
 group, and gave a joyous expression to the 
 whole passage, and at the succeeding chro- 
 matic run he resumed the original time, and 
 continued it till he arrived at this phrase, — 
 
 '-m--m- -4^ 
 
 which he gave in tempo andantino, beau- 
 tifully accenting the bass, and the third notes 
 of the upper part of the harmony, as I have
 
 LIFE OF BEETHOVEN. 
 
 133 
 
 marked tliem in the two last bars of the sub- 
 joined example, thereby rendering distinct to 
 the ear the separation of the two principles. 
 On arriving at the ninth bar, — 
 
 
 iff 
 
 he made the l)ass stand out prominently, and 
 closed the succeeding: cadence on the dominant 
 in the original time, which he maintained 
 without deviation to the end of the first part. 
 In the second part Beethoven introduced 
 the phrase in a flat major, by a ritardando 
 of the two preceding bars. He attacked this 
 phrase vigorously, thus diffusing a glow of 
 colour over the picture. He gave a charm- 
 ing expression to the following phrase in the 
 treble by strongly accenting and holding 
 down longer than the prescribed time the 
 first note in each bar, — 
 
 
 k-j-
 
 134 LIFE OF BEETHOVEN. 
 
 whilst the bass was played with gradually 
 increasing softness, and with a sort of creep- 
 ing motion of the hand. 
 
 The passage next in succession was touched 
 off brilliantly ; and in its closing bars the 
 decrescendo was accompanied by a ritar- 
 dando. The following phrase was begun in 
 tempo andante : — 
 
 At the fifth bar there was a slight accelle- 
 rando, and an increase of tone. At the sixth 
 bar the original time was resumed. Through- 
 out the remainder of the first movement 
 Beethoven observed the same time as that 
 which he had taken in the opening bars. 
 
 Various as were the tempi which Beet- 
 hoven introduced in this movement, yet they 
 were all beautifully prepared, and if I may
 
 LIFE OF BEETHOVEN. 135 
 
 SO express myself, the colours were delicately 
 blended one with another. There were none 
 of those abrupt changes which the composer 
 frequently admitted in some of his other 
 works, with the view of giving a loftier flight 
 to the declamation. Those who truly enter 
 into the spirit of this fine movement will 
 find it advisable not to repeat the first part : 
 by this allowable abridgment the gratification 
 of the hearer will be unquestionably increased, 
 whilst it may possibly be diminished by the 
 frequent repetition of the same phrases. 
 
 It would lead me too far to describe cir- 
 cumstantially the principal points in all the 
 three movements of this Sonata ; and so with 
 others, The shades of expression are so va- 
 rious and important that I can only lament 
 the impossibility of conveying any adequate 
 idea of them by words. Perhaps it is only 
 by the publication of a new edition of these 
 and other compositions, that the manner in 
 which Beethoven did or would have executed 
 them can be rendered perfectly obvious to 
 the performer, as well as their right compre-
 
 136 LIFE OF BEETHOVEN. 
 
 liension facilitated to those lovers of the art 
 whose cultivated perception may enable them 
 to recognise poetic ideas clothed in a musical 
 garb. 
 
 With regard to the second Sonata in e ma- 
 jor (Op. 14), the subject of which is similar 
 to that of the second, I shall confine myself to 
 the description of Beethoven's manner of per- 
 forming a very fev\^ passages. In the eighth 
 bar of the first allegro movement — 
 
 
 -9- 
 
 -O- 
 
 as well as in the ninth bar, he retarded the 
 time, touching the keys move forte and hold- 
 ing down the fifth note, as marked above. 
 By these means he imparted to the passage 
 an indescribable earnestness and dignity of 
 character. 
 
 In the tenth bar —
 
 LIFE OF BEETHOVEN. 
 
 137 
 
 the original time was resumed, the power- 
 ful expression being still maintained. The 
 eleventh bar was diminuendo and somewhat 
 lingering. The twelfth and thirteenth bars 
 were played in the same manner as the two 
 foregoing. 
 
 On the introduction of the middle move- 
 ment — 
 
 the dialogue became sentimental. The pre- 
 vailing time was andante, but not regularly 
 maintained, for every time that either prin- 
 ciple was introduced a little pause was made 
 on the first note, thus : —
 
 138 LIFE OF BEETHOVEN. 
 
 At the following phrase — 
 
 a joyous character was expressed. The ori- 
 ginal tempo was taken, and not again changed 
 till the close of the first part. 
 
 The second part, from this passage 
 
 ! 1 1 — L 
 
 forward, was characterised l)y an increased 
 breadth of rhythm, and augmented power of 
 tone, which, however, was further on shaded 
 into an exquisitely delicate pianissimo ; so 
 that the apparent meaning of the dialogue 
 became more perceptible without any over- 
 strained effort of imagination. 
 
 The second movement Allegretto was, as 
 performed by Beethoven, more like an
 
 LIFE OF BEETHOVEN. 
 
 139 
 
 Allegro funoso ; and, until he arrived at the 
 single chord — 
 
 on which he made a very long pause, he liept 
 up the same tempo. 
 
 In the Maggiore, the tempo was taken more 
 moderately, and played by Beethoven in a 
 beautifully expressive style. He added not 
 a single note ; but he gave to many an accen- 
 tuation which would not have suggested itself 
 to any other player. On the subject of ac- 
 centuation I may state, as a general remark, 
 that Beethoven gave prominent force to all 
 appoggiaturas, particularly the minor second, 
 even in running passages ; and in slow move- 
 ments his transition to the principal note was 
 as delicately managed as it could have been 
 by the voice of a singer. 
 
 In the Rondo of the Sonata to which I am
 
 140 LIFE OF BEETHOVEN. 
 
 here referring, Beethoven maintained the time 
 as marked until he arrived at the bars intro- 
 ducing the first and third pauses. These bars 
 he made ritardando. 
 
 The two Sonatas in Op. 14, the first Sonata 
 (f minor) in Op. 2; the first Sonata (c minor), 
 Op. 10; the Sonate pathetique (c minor), 
 Op. 13 ; the Sonata quasi Fantasia in c sharp 
 minor, Op. 27, and some others, are all pic- 
 tures of feeling ; and in every movement 
 Beethoven varied the time according as the 
 feelings changed. 
 
 I will now endeavour to make the reader 
 acquainted with the effect which Beethoven 
 intended should be given to particular phrases 
 or whole movements of his Symphonies. That 
 orchestral music does not admit of such fre- 
 quent changes of time as chamber music, is, 
 of course, an understood fact. But it is equally 
 well known that in orchestral performances 
 the greatest and most unexpected efforts may 
 be produced by even slight variations of time. 
 
 Passing over the first Symphony, I shall 
 proceed to notice the second. In the first 
 movement the prescribed time must not be
 
 LIFE OF BEETHOVEN. 
 
 141 
 
 altered, and it must by no means be taken 
 faster than is understood by the direction 
 allegro. By too fast a tempo the intrinsic 
 dignity of the movement would be utterly lost. 
 The second movement, Lar ghetto, requires 
 a frequent change of measure. The first tempo 
 is kept up to the phrase — 
 
 -^i^ 
 
 
 mM^'^ 
 
 where the time is gradually quickened, by 
 which the character of the movement acquires 
 a greater degree of warmth and spirit. 
 The passage immediately following —
 
 142 
 
 LIFE OF BEETHOVEN. 
 
 i / 
 
 is like the echo of a very melancholy wail, 
 and is given more slowly than the original 
 time, which is resumed only with the suc- 
 ceeding cadence. The same variation of time 
 should be observed on the" repetition of the 
 same phi-ases in the second part of the move- 
 ment. 
 
 To afford at a glance an idea of the right 
 mode of playing these phrases, and to show 
 that their accurate performance is perfectly 
 practicable by a well-trained orchestra, I sub- 
 join the whole in a connected form, together 
 with the requisite marks for the changes of 
 the tempi : 
 
 PS' 
 
 Poco acce lerando. 
 
 
 Cres. 
 
 
 -=M-|5- 
 
 ■^■-^^4: 
 
 
 Ut 
 
 ^
 
 LIFE OF BEETHOVEN. 
 
 143 
 
 Tempo \mo. 
 
 
 f 
 
 
 ^^^^s^ 
 
 • • / 
 
 
 -T: 
 
 l/"^ 
 
 I — • • • . ~ 
 
 
 
 If^t&Zi^Eg^B^lg 
 
 Poco accelerando. 
 
 ■1 
 
 ft-y-ZEi'^ggE3 
 
 ■^ k-N 
 
 
 3^ 
 
 -^ 
 
 ^E^
 
 144 
 
 LIFE OF BEETHOVEN. 
 
 Tempo \i\ 
 
 
 aF?#: 
 
 p 
 
 Lento. 
 
 ~y- 
 
 ^ — ^ ^LT. 
 
 :E 
 
 -'liii 
 
 Cre*. erf 
 
 '^.[J^l^ 
 
 
 ^i^ 9^ 
 
 -p- 
 -C- 
 
 
 
 accelerando
 
 LIFE OF BEETHOVEN. 145 
 
 This Allegretto is continued until the theme 
 is taken up in c minor. The first Larghetto 
 time is then resumed. 
 
 I recommend orchestral directors to try on 
 the piano this fragment as far as the A minor 
 passage, and they will be convinced of the 
 deep expression produced by the variations of 
 the tempi as I have marked them. The 
 phrase in c major ff likewise demands a de- 
 viation from the original time, and if slightly 
 accelerated will be found to acquire additional 
 power and effect.* 
 
 The style of performance above described 
 will be found to infuse into this long move- 
 ment a degree of grace, dignity, and feeling, 
 which is not attainable if the tempo be kept 
 uniform. By tlie variation the orchestra is 
 kept constantly on the stretch, but the per- 
 
 * 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 ima- 
 ginative 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. 
 
 VOL. IL H
 
 146 LIFE OF BEETHOVEN. 
 
 formance will be found easy if it be con- 
 uiicted with steadiness and decision. 
 
 I do not recollect anything remarkable 
 with regard to the manner of performing the 
 other movements of this Symphony. The 
 tempi as marked may be adhered to, 
 
 I have already observed that Beethoven 
 marked the second movement of the a major 
 Symphony with the direction Andante, quasi 
 Allegretto. But at the part in c major the 
 time may be somewhat quickened, which 
 will be found to produce an extremely pleas- 
 ing effect, forming likewise a fine contrast to 
 the mysterious character of the introduction. 
 The passage in A minor, which prepares the 
 conclusion, demands, particularly in those 
 parts where the violins answer the wind- 
 instruments, little breaks of the time, which 
 the subject and the declamation render 
 indispensable. The right colouring is thus 
 given to the back-ground of the picture, and 
 the deepest impression produced on the 
 hearer. 
 
 Concerning the Symplionia Eroica, Beet-
 
 LIFE OF BEETHOVEN. 
 
 147 
 
 hoven wished that the first movement should 
 be taken in more moderate time than is indi- 
 cated by the direction, allegro con brio, which 
 in the course of performance is usually con- 
 verted into a presto. This detracts from the 
 elevated character of the composition, and 
 transforms it into a concertante display. On 
 the contrary, a perfectly tranquil movement 
 should prevail from beginning to end, even 
 in the loudest parts. The tempo should be 
 somewhat retarded in this phrase : — 
 
 %J 
 
 
 P 
 
 ^r?#?*f 
 
 -e^ 
 
 "1-"- 
 
 — V\) 4-9 — H- I f l — ! F 
 
 r- 
 
 Ores. ' ^"^sf 
 
 and this measure should be maintained to 
 the following pianissimo passage, — 
 
 :t?* 
 
 ^=r- 
 
 
 -f-r- 
 
 0- 
 
 where a gentle accelerando brings back the 
 
 h2
 
 148 LIFE OF BEETHOVEN. 
 
 original time of the movement. This latter 
 time must be rigidly observed as far as the 
 forte phrase in b major. The same changes 
 of time should be observed in the correspond- 
 ing phrases of the second part of the move- 
 ment. 
 
 Before I proceed to comment on the 
 second movement, the Marcia funebre, I 
 must bring to the reader's recollection Beet- 
 hoven's declaration in reference to this 
 movement, given in the Second Period, 
 Whether this declaration be taken as jest or 
 earnest, it contains a great deal of truth. 
 Though Beethoven said he composed the 
 music appropriate to the tragical end of the 
 great Emperor seventeen years prior to the 
 event, yet the extent of his fancy is more 
 powerfully manifested in the manner in 
 which he has portrayed the catastrophe." 
 Does not, for example, the middle movement 
 in c major plainly point to the rising of a 
 star of hope ? Further on, does not this 
 same middle movement indicate the firm 
 resolution of the hero to overcome his fate ?
 
 LIFE OF BEETHOVEN. 149 
 
 The succeeding fugue-movement, also, still 
 pictures out a conflict with fate. After this 
 there is perceptibly a decline of energy, 
 Avhich, however, again revives, until in this 
 phrase : 
 
 &,sii 
 
 resignation is expressed, the hero gradually 
 sinks, and at length, like other mortals, is 
 consigned to the grave. 
 
 The Maggiore itself demands a somewhat 
 animated tempo. 
 
 In the c minor Symphony, Beethoven in- 
 tended that only a very few variations should 
 be made in the time ; yet these few are in 
 the highest degree important and interesting, 
 and they refer principally to the first move- 
 ment. 
 
 The opening of this movement (that is to 
 say, the first five bars with the two pauses) 
 requires to be played in something like this 
 
 tempo, 1 3:r 126, an andante con moto.* 
 
 *? !-Ed.
 
 150 LIFE OF BEETHOVEN. 
 
 Thus the mystical character of the move- 
 ment is in an infinite degree more clearly 
 manifested than by a rapid expression of this 
 phrase, so full of deep meaning. Beethoven 
 expressed himself in something like vehe- 
 ment animation, when describing to me his 
 idea : — " It is thus that Fate knocks at the 
 door." At the sixth bar, where the first 
 violin is introduced, the allegro con brio, 
 *^ =z 108, commences; and this time is con- 
 tinued until this passage* — 
 
 -^ 
 
 ~<r^~r^ 
 
 -c^ h 
 
 // 
 
 where, according to Beethoven's idea. Fate 
 again knocks at the door — only more 
 slowly. At the passage for the first violin, 
 in the succeeding bar, the allegro is again 
 taken up. 
 
 In the second part of this movement the 
 retardation of the quick time occurs twice : 
 first at the phrase succeeding the pause on 
 the major triad of E flat.j- 
 
 * See Score, p. 3. t See Score, p. 23.
 
 LIFE OF BEETHOVEN. 151 
 
 ^rb=:z=:?=?-»— --^ ^ 
 
 a"3Et=E=EE 
 
 ^^- 
 
 --t 
 
 ^^- 
 
 
 And secondly at tlie repetition of the same 
 phrase (page 43 of the Score). 
 
 Respecting any essential changes of time 
 in the other three movements of this Sym- 
 phony, I received no information from Beet- 
 hoven. 
 
 The ahove hints on matter and manner in 
 relation to Beethoven's music will, I trust, 
 be. found satisfactory. For several reasons 
 it appears to me that further details would 
 here be out of place. I must, however, most 
 earnestly and indignantly protest against 
 every reproach founded on the suspicion that 
 these hints and other observations did not 
 emanate from Beethoven, but have been the 
 offspring of my invention. Beethoven's Quar- 
 tett, performed by Schuppanzigh and the 
 three other initiated phiyers, plainly shows 
 the effect Avhich the music Avas capable of 
 producing when executed in obedience to
 
 152 LIFE OF BEETHOVEN. 
 
 the composer's personal directions. Those 
 who have not had the good fortune to hear 
 that performance, and to have thereby ob- 
 tained the advantage of observing that by 
 varying the time at suitable points powerful 
 effects are produced, and the most abstruse 
 music rendered an intelligible lanffua^e to 
 unlearned ears, may possibly doubt the accu- 
 racy of what I have stated ; but, nevertheless, 
 unjustly. 
 
 If Beethoven did not direct the perform- 
 ance of his instrumental music in the manner 
 above described, it was for the important 
 reason that he had not, ex ojfficioy any 
 orchestra under his control, and none 
 would have had patience to be schooled by 
 ' him. This sort of study could only be prac- 
 ticable with the well-organised orchestra of 
 a chapel or musical Conservatoire. With re- 
 spect to the orchestra of the Vienna Theatre, 
 the performers engaged in it have always 
 insisted that, with the exception of their 
 duties on the nights of performance, nothing 
 more shall be required of them ; and the
 
 LIFE OF BEETHOVEN. 153 
 
 orchestra of the Concert-Spirituel includes 
 among its coadjutors many dilletanti, who can- 
 not devote the necessary time to rehearsals. 
 
 These circumstances serve to explain the 
 complaints made by Beethoven to Hofrath 
 Rochlitz in the year 1822. Those com- 
 plaints, which unfortunately contained morti- 
 fying truths, are thus related by Rochlitz iu 
 his work entitled " Fiir Freunde der Ton- 
 kunst," vol. iv. p. 355: — " He (Beethoven), 
 turning the conversation upon himself and his 
 works, said ; — ' None of my compositions are 
 heard here.' — ' None in the summer season ?' 
 inquired I, writing the words on the slate. — 
 ' Neither in sunmier nor winter,' exclaimed 
 he. — ' What should they hear ? — Fidelio V — 
 ' They cannot perform it, and would not 
 listen to it if they could.' — ' The Sympho- 
 nies ?' — 'They have not time for them.'* — 
 
 * Will it be believed in Vicnra that Beethoven's Sym- 
 phonies were assiduously practised from twelve to sixteen 
 months, and the Ninth Symphony.with Schiller's Ode to Joy, 
 full two jearc, in the Conservatoire of Paris, before they were 
 performed in public ? This is a fact. It is also a fact that on 
 occasion ol the first performance of this Ninth Symphony, 
 
 II 3
 
 154 LIFE OF BEETHOVEN. 
 
 ' The Concertos ?' — ' Our instrumental players 
 prefer strumming and scraping their own 
 productions.' — ' The Solos?' — ' They have 
 been long out of faisliion here ; and now-a- 
 days Fashion rules everything,' " &c. 
 
 I once more repeat that Beethoven's music 
 would have founded a new era, had the com- 
 poser been enabled, in the new edition of his 
 works, to accomplish the much-desired object 
 of classical explanation — or had he possessed 
 the control of an orchestra, which, under his 
 own instruction and superintendence, he 
 might have made a model for the whole 
 musical world. That his ideas of possible 
 improvement would not have been narrowly 
 circumscribed, may be inferred from the pro- 
 position laid down by himself — ^'The bound- 
 ary does not yet exist of which it can be said 
 
 in 1824, at the Karnthner-Thore 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 re- 
 hearsal, which he considered necessary, proved unavailing- 
 He received for definitive answer— " Two rehearsals will be 
 quite sutficient." What will the professors of the Paris 
 Conservatoire, and M. Habeaeck, the leader, say to this ?
 
 LIFE OF BEETHOVEN. 155 
 
 to talent co-operating witli industry — Tims 
 far shalt thou go and no farther V 
 
 I had just finished this portion of my 
 work when the " Journal des Debats," of 
 the 18th of January last, containing a letter 
 from Vienna, dated the 5th of the same 
 month, reached my hands. This letter re- 
 lates to a calligraphic collection of Beet- 
 hoven's works, which the Archduke Rudolph 
 has bequeathed by will to the " Society of 
 the Lovers of Music of the Austrian Empire," 
 whose patron his Imperial Highness had been 
 for many years. It contains some inaccura- 
 cies, which might furnish occasion for mis- 
 conceptions and controversies ; it may, there- 
 fore, not be amiss to subjoin a simple state- 
 ment of the fact — in which Beethoven is 
 directly implicated — in order to correct the 
 errors in that letter. 
 
 Mr. Tobias Haslinger, while a partner in 
 the house of Steiner and Co., music-pub-
 
 156 LIFE OF BEETHOVEN. 
 
 lisliers (of which he is now sole proprietor), 
 undertook to produce a calligraphic copy of 
 all Beethoven's works. After a number of 
 the works already printed had been so copied, 
 Beethoven received intelligence of the cir- 
 cumstance; and though the expensive under- 
 taking of ]Mr. Haslinger was represented to 
 him as a mercantile speculation, which, how- 
 ever, according to his statement, it was not 
 intended to be, the composer was perfectly 
 indifferent, since he could not have raised 
 any reasonable objection, let the purpose of 
 the enterprise be what it might. Now, the 
 letter from Vienna in the " Journal des De- 
 bats " asserts that Beethoven had previously 
 revised and corrected, and, " in fact, put the 
 finishing hand " to all his works for the be- 
 nefit of this calligraphic copy : this assertion 
 must be contradicted. At the time that 
 Beethoven heard what Mr. Haslinger was 
 about, he was not on good terms with the 
 above-mentioned house, neither of course with 
 Mr. Haslinger himself; and soon afterwards 
 followed the rupture mentioned in the Third
 
 LIFE OF BEETHOVEN. 157 
 
 Period, because Beethoven would not sub- 
 scribe to the scale of prices in IMr. Haslinger's 
 hand-Avriting. By such inaccurate state- 
 ments sent forth to the world, not with- 
 out some object, as I suppose, I am induced 
 to subjoin that list of prices.* From the 
 
 INSTRUMENTAL MUSIC. 
 
 Ducats. 
 
 Symphonies for the whole Orchestra .... 60 — SO 
 Overtures 20—30 
 
 FOR THE VIOLIN. 
 
 Concertos for VioHn, with Orchestral Accompaniments jO 
 
 Ottetts for various Instruments 
 
 Septetts ditto 
 
 Sextetts ditto 
 
 Quintetts fur 2 Viohns, 2 Violas, and Violoncello 
 Quartetts for 2 Violins, Viola, and Violoncello 
 Terzetts for Violin, Viola, and Violoncello . 
 
 60 
 
 fiO 
 60 
 50 
 40 
 40 
 
 FOR THF, PIANO-FORTE. 
 
 Concertos for the Piano-forte, vsith Orchestral Accom- 
 paniments 60 
 
 Fantasia, ditto 30 
 
 Rondo, ditto 30 
 
 Variations, ditto 30 
 
 Ottetts for Piano-forte, with Accompaniments of va- 
 rious Instruments ,10 
 
 Septett ditto jO 
 
 Quintett ditto (jO 
 
 QiiHitctt ditto 70
 
 158 LIFE OF BEETHOVEN. 
 
 remarks annexed, in Beethoven's own hand- 
 writing, it will be seen that, just at this time 
 
 Terzetts for Piano-forte, Viola, and Violoncello . . 50 
 
 Duetts for Piano-forte and Violin 40 
 
 Duetts for Piano-forte and Violoncello 40 
 
 Duo for Piano-forte, for four hands 60 
 
 Sonata (Grand) for Piano-forte, alone 40 
 
 Sonata for Piano-forte, solo 30 
 
 Fantasia for Piano-forte 30 
 
 Rondo for Piano- forte 15 
 
 Variations for Piano- forte, with Accompaniments 10 — 20 
 
 Variations for Piano-forte, solo 10 — 20 
 
 Six Fugues for Piano- forte 30 — 40 
 
 Divertimentos, Airs, Preludes, Pot-pourris, Baga- 
 telles, Adagio, Andante, Toccatas, Capriccios, 
 for Piano-forte, solo 10 — 15 
 
 VOCAL MUSIC. 
 
 Grand Mass 130 
 
 Smaller Mass 100 
 
 Greater Oratorio 300 
 
 Smaller Oratorio 200 
 
 Graduale 20 
 
 Offertorium 20 
 
 Te Deum Laudamus SO 
 
 Requiem 120 
 
 Vocal Pieces with Orchestral Accompaniments . . 20 
 
 An Opera Seria 300 
 
 Six Songs, with Piano-forte Accompaniments ... 20 
 
 Six shorter ditto ditto 12 
 
 A Ballad 15 
 
 Immediately underneath were the following remarks in 
 Beethoven's handwriting: — "One might reserve a right
 
 LIFE OF BEETHOVEN. 159 
 
 (1821 and 1822), the above-mentioned pub- 
 lishers were in treaty with Beethoven respect- 
 ing an edition of his complete works. Ano- 
 ther Vienna house was likewise treatinp; with 
 him at the same time for the same purpose. 
 How, then, could Beethoven have put a 
 finishing hand to his works for the benefit of 
 that calligraphic copy, since he himself pro- 
 jected an edition of them, and had so many 
 important points not yet settled in his OAvn 
 mind to decide upon? And though he may 
 have subsequently corrected a few wrong notes 
 (of which there are unluckily too many in 
 his works) for ]\Ir. Haslinger's undertaking, 
 this cannot by any means be called '' putting 
 
 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 one- 
 self. 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 thoy 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."
 
 160 LIFE OF BEETHOVEN. 
 
 the finishing hand to a work." It were in- 
 deed to be wished that Beethoven had done 
 so in this instance, and that his intentions 
 were to be found there. How many and 
 what great works has Beethoven written after 
 the rupture with tliat house, which have 
 been introduced into the calligraphic copy ! 
 Is it to be supi)osed that he put the finishing 
 hand to these also for the benefit of that un- 
 dertaking ? If so, look, above all, at the 
 Quartett No. 13, and others of the latest 
 Quartetts, and discover if you can the re- 
 marks and explanations to them which Beet- 
 hoven sent to Prince Nicholas von Galitzen, 
 to St. Petersburg (as I have mentioned at 
 pp. 34-36 of the present volume), and which 
 he designed to append in a more explicit 
 form to a second edition, in order to render, 
 those works more intelligible ; and then those 
 " hieroglyphics," as they are called, ^yill be 
 all at once deciphered for the whole world, 
 and bright sunshine pervade them, as it does 
 his Quartett No. 1. 
 
 When Beethoven was informed that Mr.
 
 LIFE OF BEETHOVEN. 161 
 
 Haslinger was in treaty with the Archduke 
 Rudolph for the sale of the calligraphic 
 works, and that the price demanded for them 
 was said (if I recollect rightly) to be 40,000 
 florins — the " Journal des Debats " says that 
 they cost the Archduke upwards of 90,000 
 florins (223,000 francs) — the great master 
 was again indifferent, and merely muttered to 
 himself something about " a poor devil," and 
 that " such he was and such he should ever 
 remain while others contrived to suck out his 
 marrow and fatten upon it." But I was 
 accustomed to such exclamations, or freaks of 
 fancy : they had nothing alarming, but much 
 that grieved ; for when the beloved friend 
 had vented his spleen in this manner, he 
 would take up the j)en and again fall to 
 writing what he used punningly to call 
 Noten in Niithen — notes in emergency.
 
 162 
 
 II. 
 
 CHARACTERISTIC TRAITS AND PECU- 
 LIARITIES OF BEETHOVEN. 
 
 Beethoven's Relifjious Principles— His Dislike of giving 
 Lessons — His Frankness, and, at the same time, Dex- 
 terity in evading Questions — Vindication of him from 
 the charge of Discourtesy to Brother Artists — Proofs 
 that though a rigid, he was a just Critic — Kind Encour- 
 agement afforded by him to Professional Merit — His 
 modest Appreciation of Himself— His Extempore Play- 
 ing — His Every-day Occupations — Propensity for Dab- 
 bling in Water — Pension — Certificates — BeethQV.eii.erro- 
 neously compared with Jean Paul Richter — Mortifying 
 Trick played by him at the instigation of a Friend — 
 Motivo of a Movement in one of his Quartetts — His 
 Peculiar Habits in Eating and Drinking — Extent of his 
 Knowledge of Languages— Comments on Statements of 
 M. von Seyfried relative to Beethoven's domestic Habits — 
 Spurious MSS. attributed to him — His Person — Portraits 
 of him. 
 
 Beethoven was educated in the Catholic 
 religion ; and that he was truly religious, the 
 whole tenor of his life sufficiently proves. It 
 was, however, a remarkable peculiarity in 
 his character that he never conversed on 
 religion, or expressed any opinion on the 
 creeds of different Christian sects. If my
 
 V
 
 Fi..c.Mm,le „r B.5etkoven'5 HanA-writm?. 
 
 -P. 
 
 X 
 
 Vc^./ ^ 
 
 ^7 
 
 c 
 
 
 
 i>.4 l.^v^ ij4>i 
 
 ./ 
 
 Pi-inV?^ 
 
 v\ 
 
 
 .%iU 
 
 
 i^'
 
 LIFE OF BEETHOVEN. 163 
 
 observation entitles me to form tin opinion 
 on the subject, I should say he inclined 
 to Deism ; in so far as that term may 
 be understood to imply natural religion. 
 He had written with his own hand two in- 
 scriptions, said to be taken from a temple of 
 Isis. These inscriptions, which were framed, 
 and for many years constantly lay before him 
 on his writing-table, were as follows: — 
 
 I. " I AM THAT WHICH IS. — I AM ALL 
 THAT IS, ALL THAT WAS, AND ALL THAT 
 SHALL BE. No MORTAL MAN HATH MY 
 
 VEIL uplifted!" 
 
 II. " He IS One, self-existent, and to 
 THAT One all things owe their exist- 
 ence."* 
 
 I shall carefully watch over the preserva- 
 tion of these pious relics of my friend, who 
 regarded them as an epitome of the loftiest 
 and purest religion. They were to him 
 dearly- prized treasures. 
 
 I have already, in the biographical part of 
 
 * See BoL-thoven's fac simile in the original German, of 
 which the above is a translation. No. I.
 
 164 LIFE OF BEETHOVEN. 
 
 this work, alluded to Beethoven's repugnance 
 to giving lessons. I may now add that his 
 distaste for tuition was experienced by the 
 "dames de predilection" who could boast of 
 being his pupils. Even these ladies found 
 themselves sometimes forgotten by him for 
 weeks at a time ; and, when at length he pre- 
 sented himself, he was generally received with 
 looks of displeasure, which, however, made 
 but little impression on him. With respect 
 to his mode of conveying instruction, the fol- 
 lowing particulars may interest the reader. 
 
 Those who wished to obtain from Beet- 
 hoven that valuable information which he was 
 so capable of communicating, could not suc- 
 ceed in that object unless they had the oppor- 
 tunity of being near him at every hour of the 
 day; for nothing could induce him to give 
 himself up to any business at a fixed time. 
 Now and then he would speak readily and en- 
 tertainingly on the various branches of know- 
 ledge with which he was familiar; he would 
 even give direct instruction ; but how few 
 had opportunity to profit by these communi-
 
 LIFE OF BEETHOVEN. 165 
 
 cative intervals ! They frequently occurred 
 at meal-times, and dm-ing his walks, or, to 
 speak more properly, runs ; and on these 
 occasions he would often suddenly break off 
 the conversation if he found his companion 
 unable to keep pace with him. In his philo- 
 sophic discussions there were only two topics 
 which Beethoven never touched upon, and 
 which, indeed, he carefully avoided — namely, 
 thorough-bass and religion. Both, he de- 
 clared, were exhausted subjects, which ad- 
 mitted of no farther discussion. 
 
 If candour be the type of nobleness of mind, 
 that virtue was fully possessed by Beethoven. 
 He gave expression to his feelings without 
 any reserve ; and the propriety of repressing 
 offensive remarks was a thing that never 
 entered his thoughts. On the other hand, it 
 \va.s no easy matter to get him to pronounce 
 an opinion or judgment on music and musi- 
 cians ; and it was only after an attentive 
 observation of his expressions, sometimes for 
 the space of several days, that anything
 
 166 LIFE OF BEETHOVEN. 
 
 decided or consistent could be gained from 
 him. With the witty, satirical, and sarcastic 
 remarks which were always ready at his 
 tongue's end, he endeavoured to evade ques- 
 tions to which he did not wish to give direct 
 answers ; and he usually succeeded in dis- 
 couraging inquirers, who got something like a 
 reply, but nothing to the purpose.* It was 
 seldom, either at meal-time or during his 
 walks, that he was, to use his own expres- 
 sion, " quite unbuttoned." When he was, 
 he wielded the rod of satire without mercy ; 
 
 * I remember, after having been for some time I'esident 
 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 atOlmiitz" (Er hiitet 
 seine Schafe in Olmiitz) — an allusion to the Archduke's 
 Cardinal ship. 
 
 The same conversation was remarkably interesting to me, 
 as aifording me many proofs of the extreme interest Beet- 
 hoven 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.
 
 LIFE OF BEETHOVEN. 167 
 
 and Emperor, King, and Artist, were all alike 
 subject to his critical lash. Beethoven had 
 to pay an annual impost, called a class-tax, 
 amounting to twenty-one florins. These 
 twenty-one florins furnished him yearly with 
 a subject for twenty-one thousand sarcasms, 
 of which, in return, his diversified talent 
 never failed to make a repartition and re- 
 assessment, which produced, as usual, a 
 result in the highest degree humorous. 
 
 Beethoven has too frequently been accused 
 of a discourteous bluntness of manner towards 
 his brother artists, which had a discouraging 
 effect on the efforts of young beginners. Even 
 M. Ries, in his Notizen, plainly shows that 
 he thought this charge against Beethoven not 
 without foundation. In allusion to this sub- 
 ject, a friend of Beethoven's has thus expressed 
 himself: — "These people cannot separate the 
 man oppressed by fate from the caprice and 
 irritability which are caused by that fate ; 
 they cannot see the noble side of his disposi- 
 tion. Nevertheless, it is a melancholy fact 
 that, to his unhappy state of existence, we are
 
 168 LIFE OF BEETHOVEN. 
 
 in a great measure indebted for his wonder- 
 ful musical fancy and susceptibility." 
 
 M. Moscheles will remember the amiable 
 reception he experienced when he presented 
 to Beethoven the Sonata in e, which he had 
 dedicated to him. He will likewise recollect 
 the patient attention with which Beethoven 
 corrected his pianoforte arrangement of Fide- 
 lio, published by D. Artaria; and how^ 
 kindly he encouraged his labours, until they 
 were brought to a satisfactory conclusion. 
 He even persuaded Moscheles to introduce 
 an arrangement of one piece from the opera, 
 which Hummel had prepared for Artaria, 
 and which Beethoven had condemned, or, 
 to speak the truth, contemptuously torn up, 
 not knowing at the time that it was the 
 work of Hummel. At the end of every piece 
 he arranged from the opera, IMoscheles, pro- 
 bably under the apprehension of being treated 
 with as little ceremony as Hummel, wrote 
 the words, " Fine, with God's help,'' and 
 Beethoven wrote underneath, " O man, help 
 thyself!"
 
 LIFE OF BEETHOVEN. 169 
 
 Beethoven's kindness will, no doubt, be 
 borne in mind by that esteemed composer, 
 M. Anton Halm, when he arranged the 
 grand Fugue for the pianoforte. This Fugue 
 had previously formed the fourth movement 
 of the Quartettin b (No. 13), which Beet- 
 hoven, at the request of the publisher (JNIath. 
 Artaria), converted into a distinct work (Op. 
 133). He then composed a new fourth 
 movement for the Quartett ; and it is worthy 
 of remark, that this movement was positively 
 Beethoven's last work. He completed it in 
 November, 1826. Czerny had arranged the 
 Fugue above alluded to, before Halm ; but 
 his production met with no more approval 
 than Hummel's movement from Fidelio.* 
 
 * With respect to most of the arrangements of Beet- 
 hoven's works for two or four hands, especially his Sympho- 
 nies, 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 difliculties, which, on the pianoforte, owing to the 
 VOL. II. I
 
 170 LIFE OF BEETHOVEN. 
 
 The above facts show that if Beethoven 
 was a rigid, he was likewise a just critic : 
 that he was rigid in exactions upon himself 
 more than upon others, is obvious from the 
 scores of all his works. His critical judg- 
 ment on musical compositions was frequently 
 accompanied by violent ebullitions of temper. 
 A remarkable instance of this occurred after 
 he had examined Ries's Concerto, entitled 
 " Farewell to London." Beethoven was so 
 singularly displeased Avith this work, that he 
 addressed a fulminating letter to the Editor of 
 the Leipzig MusiJcalhche Zeitung, Avherein 
 he enjoins Ries no longer to call himself his 
 
 homogeneous tone of the instrument, are useless, and fre- 
 quently undistinguishable, whilst they obstruct the free 
 flow of the melody, and, by fatiguing both the eyes and 
 fingers of the player, render hira 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 grati- 
 fying 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 diffi- 
 cult task in a spirit congenial with the composer's intention.
 
 LIFE OF BEETHOVEN. 171 
 
 pupil. Kanne and Schuppanzigh, whom I 
 acquainted with this affair, joined me in per- 
 suading; the enraged master to refrain from 
 any further demonstration of displeasure. 
 But, in the mean, time Ries had received his 
 reprimand, and that for several years after- 
 wards he smarted under the heavy rebuke of 
 his old master is, I think, evident from a 
 passage in his Notizen. Why did not Ries 
 insert Beethoven's letter in that publica- 
 tion 1 It would have been in many respects 
 interesting, and, at the same time, a real 
 example of the great master's peculiari- 
 ties.* 
 
 Franz Lachner, T. Horzalka, and Leo- 
 poldine Blahetka, all experienced from Beet- 
 hoven a kind reception, and an acknowledg- 
 ment of their eminent talents. It was in 
 consequence of the encouragement, and in- 
 deed the assistance of Beethoven, in her 
 education, that JNIademoiselle Blahetka was 
 
 * 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. 
 
 I 2
 
 172 LIFE OF BEETHOVEN. 
 
 destined by her father to the musical profes- 
 sion. 
 
 How greatly did Beethoven admire the 
 genius of Franz Schubert ! But it was not 
 until he was on his death-bed that he had 
 a complete perception of that talent, whicli 
 the representations of certain persons had 
 previously caused him to underrate. When 
 I made him acquainted with Schubert's 
 Ossians Gesdnge, die Burgsc/iaft, diejunge 
 Nonne, Grenzen der Mensclilieit, and some 
 other productions of the same composer, he 
 exclaimed, with deep emotion : — " Truly 
 Schubert is animated by a spark of heavenly 
 fire ! " 
 
 I could quote the names of many other 
 artists, who will cherish, as long as they live, 
 a gratifying remembrance of the kindness 
 shown to them by Beethoven. That our 
 great master was not disposed to treat with 
 undue courtesy artistical presumption, which 
 sometimes, in his latter years, boldly raised 
 its head before him, may naturally be sup- 
 posed. Exempla sunt odiosa. But on such
 
 LIFE OF BEETHOVEN, 173 
 
 aberrations Beethoven's high mind looked 
 down with compassion. 
 
 I will close this chapter with the following 
 remarks : — 
 
 Beethoven possessed too much genuine 
 religious feeling to believe that Nature had 
 created him to be a model for future ages, as 
 many of his worshippers, not unfrequently 
 actuated by interested motives, would fain 
 have persuaded him. A stranger to the bu- 
 siness of this world, and living, as it were, in 
 another, Beethoven was like a child, to whom 
 every external influence gives anew impulse; 
 and who in like manner does not turn an 
 unwilling ear to flattery, because incapable 
 of estimating the purpose for which the 
 adulation is bestowed. This ignorance of the 
 world — this lofty or puerile feeling, which- 
 ever it may be termed, w^as in Beethoven 
 only transitory, and he soon recovered his 
 manly tone of mind. Beethoven well knew 
 and always respected the motto — Palmam qui 
 meruit ferat ! His upright, impartial mind 
 led him to bestow, unsolicited, the most un-
 
 174 LIFE OF BEETHOVEN. 
 
 equivocal approbation on foreign talent ; 
 often as he found that approbation lessened, 
 or discovered that it had been altogether cast 
 away upon certain " backsliding men," as 
 he termed them. Beethoven always bore in 
 mind that a Mozart had preceded him, and 
 that another might follow him. He ever 
 cherished high expectations of the future, for 
 he fervently believed in the omnipotence of 
 the Creator, and the inexhaustibility of Na- 
 ture. Oh ! how great was Beethoven as a 
 man ! Who ever learned to know him on that 
 side, and was capable of comprehending and 
 judging not only of his mighty genius but 
 also of his noble heart, Avill not fail to place 
 the moral man, if not above the great com- 
 poser, at least on the same level with him. 
 
 Beethoven was very fond, especially in the 
 dusk of the evening, of seating himself at the 
 piano to improvise, or he would frequently 
 take up the violin or viola, for which purpose 
 these two instruments were always left lying
 
 LIFE OF BEETHOVEN. 175 
 
 on the piano. In the latter years of his life, his 
 playing at such times was more painful than 
 agreeable to those who heard it. The inward 
 mind alone was active ; but the outward 
 sense no longer co-operated with it : conse- 
 quently the outpourings of his fancy became 
 scarcely intelligible. Sometimes he would 
 lay his left hand flat upon the key-board, and 
 thus drown, in discordant noise, the music to 
 which his right was feelingly giving utterance. 
 It is well known that Beethoven, in his early 
 years, did not perform his own compositions 
 purely ; for no other reason, however, than 
 his want of time to keep the mechanical power 
 of his fingers in practice ; but his improvisa- 
 tions, when he was free from the restraint of 
 reading notes, were the finest effusions of the 
 kind imaginable. '^Tlie imperial court piano- 
 forte-maker, Conrad Graf, made for Beethoven 
 a sound-conductor, which, being placed on the 
 piano-forte, helped to convey the tone more 
 distinctly to his ear ; but though this con- 
 trivance was ingenious, it afforded no assist- 
 ance in Beethoven's case of extreme deaf-
 
 176 LIFE OF BEETHOVEN. 
 
 iiess. The most painful thing of all was to 
 hear him improvise on stringed instruments, 
 owing to his incapability of tuning them. 
 The music which he thus produced was fright- 
 ful, though in his mind it was pure and har- 
 monious. 
 
 In winter as well as in summer it was 
 Beethoven's practice to rise at day-break, 
 and immediately to sit down to his writing- 
 table. There he would labour till two or 
 three o'clock, his usual dinner-time. Mean- 
 while he would go out once or twice in the 
 open air, where, to use JM. Saphir's phrase, 
 he would work and walk. Then, after the 
 lapse of half an hour or an hour, he ^^'ould 
 return home to note down the ideas which 
 he had collected. As the bee gathers honey 
 from the flowers of the meadows, so Beetho- 
 ven often collected his most sublime ideas 
 while roaming about in the open fields. The 
 habit of going abroad suddenly and as unex- 
 pectedly returning, just as the whim hap- 
 pened to strike him, was practised by Beetho-
 
 LIFE OF BEETHOVEN. 177 
 
 ven alike at all seasons of the year : cold or 
 heat, rain or sun-shine, were all alike to him. 
 In the autumn he used to return to town as 
 sun-burnt as though he had been sharing the 
 daily toil of the reapers and gleaners. Win- 
 ter restored his somewhat yellow complexion. 
 In No. 2 of the Appendix will be found a 
 fac-simile of some of his first ideas, noted 
 down with pencil, immediately as they were 
 conceived amidst the inspiring scenery of 
 nature. 
 
 The use of the bath was as much a neces- 
 sity to Beethoven as to a Turk ; and he was in 
 the habit of submitting himself to frequent ab- 
 lutions. When it happened that he did not walk 
 out of doors to collect his ideas, lie would not 
 unfrequently, in a fit of the most complete 
 abstraction, go to his wash-hand basin, and 
 pour several jugs of water upon his bands, all 
 the while humming and roaring, for sing 
 he could not. After dabbling in the water 
 till his clothes were wet through, he would 
 pace up and down the room, with a vacant 
 exj)ression of countenance, and his eyes 
 
 I 3
 
 178 LIFE OF BEETHOVEN. 
 
 frightfully distended ; the singularity of his 
 aspect being often increased by an unshaven 
 beard. Then he woukl seat himself at his 
 table and write ; and afterwards get up again 
 to the wash-hand basin, and dabble and hum 
 as before. Ludicrous as were these scenes, no 
 one dared venture to notice them, or to dis- 
 turb him while engaged in his inspiring ablu- 
 tions, for these were his moments, or I should 
 rather say his hours, of profoundest medita- 
 tion. It will he readily believed, that the 
 people in Avhose houses he lodged were not 
 very well pleased when they found the water 
 trickling through the floor to the ceiling be- 
 low, as sometimes happened ; and Beethoven's 
 change of lodgings was often the consequence 
 of these occurrences. On such occasions co- 
 mical scenes sometimes ensued. 
 
 At every quarterly payment of his pension 
 Beethoven was required^, before he could re- 
 ceive the money, to procure from the curate 
 of the district in which he resided, a certificate 
 to prove that he was actually living. When 
 he happened to be in the country, he used to
 
 LIFE OF BEETHOVEN. 179 
 
 get me or some other friend to draw up this 
 certificate, and whenever he wrote to make 
 this request it was always in some humorous 
 or jesting manner. On one of these occa- 
 sions he addressed to me a note containing 
 merely the following words, unaccompanied 
 by any explanation ; he of course knew 
 very well that I should understand their 
 import : — 
 
 " Certificate. 
 " The fish is alive. 
 
 " Vidi, 
 " Pastor R031UALDUS." 
 
 It has been so much the custom to compare 
 Beethoven with Jean Paul Richter, that the 
 correctness of the comparison seems to be 
 taken for granted ; nevertheless, it appears to 
 me to be very unjust. Jean Paul was not his 
 favourite author. If Beethoven ever looked 
 into his works, he cannot be said to have read 
 them ; they were too aphoristic and enigma- 
 tical for his taste. To imagine that there exists 
 any general resemblance between our great
 
 180 LIFE OF BEETHOVEN. 
 
 composer and Jean Paul Richter is a great 
 mistake ; that writer, it is true, occasionally 
 makes excursions into the region of dreamy 
 and sentimental life ; but as a painter of feel- 
 ings he is not to be placed on a level with 
 Beethoven. A comparison with Shakspeare 
 or Michael Angelo might be more correct. 
 Shakspeare was Beethoven's ftivourite poet. 
 
 Though Beethoven was throughout his 
 whole life a prey to misfortune and disap- 
 pointment, yet there were moments in which 
 he did not scruple to inflict pain and dis- 
 appointment on others. Nevertheless, it must 
 be observed that in most cases of this kind 
 he acted under some other influence than that 
 of his own feelings. The following circum- 
 stance occurred in the latter years of his life. 
 
 The wife of M. H m, an esteemed 
 
 piano-forte player and composer, residing in 
 Vienna, was a great admirer of Beethoven, 
 and she earnestly wished to possess a lock of 
 his hair. Her husband, anxious to gratify 
 her, applied to a gentleman who was very in-
 
 LIFE OF BEETHOVEN. 181 
 
 tiniate with Beethoven, and avIio had rendered 
 him some service. At the instigation of this 
 person, Beethoven was induced to send the 
 lady a lock of hair cut from a goat's beard ; 
 and Beethoven's own hair being very gray and 
 harsh, there was no reason to fear that the 
 hoax woukl be very readily detected. The 
 lady was overjoyed at possessing this sup- 
 posed memorial of her saint, proudly showing 
 it to all her acquaintance ; but when her hap- 
 piness was at its height, some one, who hap- 
 pened to know the secret, made her acquainted 
 with the deception that had been practised on 
 her. In a letter addressed to Beethoven, her 
 husband warmly expressed his feelings on the 
 subject of the discovery that had been made. 
 Convinced of the mortification which the 
 trick must have inflicted on the lady, Beet- 
 hoven determined to make atonement for it. 
 He immediately cut off a lock of his hair, and 
 enclosed it in a note, in which he requested 
 the lady's forgiveness of what had occurred. 
 The respect which Beethoven previously en- 
 tertained for the instigator of this unfeeling
 
 182 LIFE OF BEETHOVEN. 
 
 trick was now converted into hatred, and he 
 would never afterwards receive a visit from 
 him. 
 
 This is not the only instance that could be 
 mentioned, in which our great master was 
 influenced by vulgar-minded persons to do 
 things unworthy of himself. 
 
 Questions have frequently been addressed 
 to me respecting the motivo of the last move- 
 ment of the Quartett in f, op. 135 ; to which 
 Beethoven affixed as a superscription the 
 words — Der schioer-gefasste Entschluss. 
 Un effort d' inspiration. " Muss es sein ?'' 
 " Es muss sein .'"* Between Beethoven and 
 the people in whose houses he at diflPerent 
 times lodged, the most ludicrous scenes arose 
 whenever the period arrived for demanding 
 payment of the rent. The keeper of the 
 house was obliged to go to him, almanack in 
 hand, to prove that the week was expired, 
 and that the money must be paid. Even in 
 
 * The resolution thus hesitatingly formed. An effort of 
 inspiration. " Must it be ?*' " It must be !"
 
 LIFE OF BEETHOVEN. 183 
 
 his last illness he sang with the most comical 
 seriousness to his landlady the interrogatory 
 motivoof the quartett above mentioned. The 
 woman understood his meaning, and, entering 
 into his jocose humour, she stamped her foot, 
 and emphatically answered, ^'Es muss sein .'" 
 There is another version of the story relative 
 to this motivo. It refers to a publisher of 
 music, and does not differ very much from 
 the anecdote I have just related. Both turn 
 upon the article money, and are merely jokes. 
 But what a poetic palace has Beethoven built 
 on this very prosaic foundation ! 
 
 Great men as well as their inferiors, are 
 subject to certain natural wants, such as 
 eating and drinking. Some of Beethoven's 
 peculiarities in these matters, which will not 
 be uninteresting to many of his admirers, 
 deserve at the same time to be ranked among 
 the curiosities of housekeeping. 
 
 For his breakfast he usually took coffee, 
 which he frequently prepared himself; for in 
 this beverajre he had an oriental fastidiousness 
 of taste. He allowed sixty beans for each
 
 184 LIFE OF BEETHOVEN. 
 
 cup, and lest his measure should mislead him 
 to the amount of a bean or two, he made it a 
 rule to count over the sixty for each cup, 
 especially when he had visitors. He per- 
 formed this task with as much care as others 
 of greater importance. At dinner his favour- 
 ite dish was macaroni with Parmesan 
 cheese, which must have been very bad 
 before he pronounced it to be so ; but that it 
 was not always very good may be inferred 
 from the uncertainty of the time he occupied 
 in writing, and consequently of the hour for 
 his meals. He was likewise very fond of every 
 kind of fish ; and consequently fast days im- 
 posed no sacrifice on him. To certain guests 
 he only gave invitations on Fridays, for then 
 his table was always adorned with a fine 
 Schill* and potatoes. Supper was not a 
 meal which he cared much about. A plate 
 of soup, or something left from dinner, was 
 all he partook of, and he was in bed by ten 
 o'clock'. He never wrote in the afternoon, 
 
 * A kind of fish resembling the haddock, caught in the 
 Danube.
 
 LIFE OF BEETHOVEN. 185 
 
 and but very seldom in the evening. He 
 disliked to correct what he had written. 
 This he always felt an irksome task. He 
 preferred making a fresh copy of his notes. 
 
 Beethoven's favourite beverage was fresh 
 spring water, of which lie often drank copi- 
 ously from morning to night. He preferred 
 the wine of the heights around Buda to 
 every other ; but, as he was no judge of wine, 
 he could not distinguish the adulterated from 
 the pure ; and, by drinking the former, he 
 frequently caused great derangement to his 
 weak stomach ; but no warning of this kind 
 had any effect upon him. Among his enjoy- 
 ments may also l)e numbered a glass of good 
 beer, and a pipe of tobacco in the evening. 
 To these may be added the perusal of the 
 political journals, especially the Augsburg 
 Allgemchie Zeitung. This sort of reading 
 engrossed a great deal of his time. 
 
 He fre(|uently visited taverns and coffee- 
 houses, even in the latter years of liis life ; 
 l)ut he usually had some favourite one, which 
 was provided with a back door, at which he
 
 186 LIFE OF BEETHOVEN. 
 
 could go in and out. Strangers who wished 
 to get a sight of Beethoven used to go to the 
 coffee-house he was in the habit of fre- 
 quenting ; for thither he would repair to a 
 certainty once or twice a week, not for the 
 purpose of conversing, but of reading the 
 journals. When he had glanced over the 
 last paper, he would hurry away, making his 
 exit by the back door. 
 
 M. Ignaz von Seyfried, in his account of 
 Beethoven,* states that he was a perfect 
 master of the Latin, French, and Italian 
 languages. In as far as relates to the first- 
 mentioned language. Dr. Wegeler mentions 
 in his work (p. 9) that Beethoven "learned 
 something of Latin at Bonn." But, in proof 
 of his very slight acquaintance with that lan- 
 guage, I need only mention the fact that, on 
 the first occasion of his composing a Mass, he 
 was obliged not only to get the words trans- 
 lated, but also the quantities of the different 
 syllables explained to him. How far he was 
 
 * " Beethoven Studien," p. 26.
 
 LIFE OF BEETHOVEN. 187 
 
 conversant with the French language may be 
 seen from the style of his letter to Cheruhini 
 (in the Third Period) ; and other examples of 
 the same kind might be quoted. That he 
 was better acquainted Avith it in his earlier 
 days, before his deafness rendered him in- 
 capable of joining in conversation, may be 
 readily presumed. As to Italian, he could 
 only read it. Beethoven greatly admired 
 the classic writers of antiquity, and perused 
 their works in the best translations, of all of 
 which he possessed copies. This industrious 
 reading, combined with his vast musical 
 labours, left him little time for the study of 
 languages. He had, however, as intimate a 
 knowledge of the translated Aiorks of some of 
 the Greek authors as he had of his own 
 scores. With Shakspeare, also, he was 
 equally well acquainted. In his friends he 
 required the same extent of reading ; other- 
 wise their society became wearisome to him. 
 
 I feel bound to notice some observations 
 made by M. von Seyfried on tlie subject of 
 Beethoven's housekeeping. At page 16 of
 
 188 LIFE OF BEETHOVEN. 
 
 his publication he states that " Beethoven 
 used to go himself to market, and after bar- 
 gaining and buying, not at the best price, he 
 would return home and cook, with his own 
 hands, the articles he had purchased," &c. 
 Oil ! M. Seyfried ! " Quousque tandem ? "^ — Is 
 it not usual for persons in the most respect- 
 able conditions of life to purchase rare ve- 
 getables or fruit for the table ? Beethoven 
 did so, but when he wished to furnish his 
 table with some rarities for his guests his 
 housekeeper accompanied him, and carried 
 home what he purchased ; and he always pur- 
 chased the best. His old housekeeper, on the 
 contrary, was not so nice in her selection. 
 Had M. von Seyfried ever been Beethoven's 
 guest, he might have persuaded himself 
 that his table was not ill provided. But 
 that Beethoven should have been so far the 
 victim of suspicion as to be induced, by an 
 absurd distrust of others, to cook his own 
 food, is a circumstance which I never heard 
 of; and other friends of the great composer, 
 to whom I have applied for information, dis-
 
 LIFE OF BEETHOVEN. 189 
 
 claim in like manner all knowledge of the 
 fact. However, as Beethoven was very fond 
 of a joke, it is not impossible that he may 
 have got up this cookery farce for the sake of 
 mystifying some of his guests. Nevertheless, 
 thus much is certain, that in his latter days 
 he carried his suspicious feeling to such an 
 extreme that he would trust nobody to pay 
 the most trifling bills for him, and would 
 often doubt the authenticity of a receipt. 
 Tliis suspicion extended even to his trust- 
 worthy old housekeeper. INI. von Sey fried 
 must pardon this comment on his statements. 
 The exaggeration was doubtless on his part 
 unintentional ; he wrote from hearsay, a me- 
 dium through which facts are frequently 
 altered and perverted. In the year 1805 he 
 was, as he mentions, on a footing of intimate 
 intercourse with Beethoven, but that inti- 
 macy did not extend either to a previous or a 
 subsequent period. However, the suspension 
 of personal communication had not the effect 
 of diminishing the respect entertained for 
 Beethoven by M- von Seyfried; that able
 
 190 LIFE OF BEETHOVEN. 
 
 artist did not regard our great composer with 
 the jaundiced eye with which he was re- 
 garded by certain Jiommes de metier. ]M. von 
 Seyfried is one of the few who understood 
 and appreciated Beethoven's inward worth, 
 without being misled by outward appear- 
 ances. (See p. 27 of his work.) 
 
 The doubts respecting the genuineness of 
 many manuscripts attributed to Beethoven, 
 which have come to light since his death, are 
 worthy of consideration.* A great deal of 
 imposition has already been practised, and 
 will probably be carried still further ; conse- 
 quently, only Beethoven's handwriting, or his 
 attestation to the authenticity of the manu- 
 scripts, can remove doubts on the subject. 
 
 I will mention one instance out of many, to 
 show how far unblushing effrontery has al- 
 ready been carried on tliis point. In the year 
 1827, a few months after Beethoven's death, 
 
 a certain M. E offered for sale to the 
 
 Messrs. Schott, in Mainz, an Opera alleged to 
 
 * Ries, in his " Notizen," p. 124, sets forth at length the 
 reasons for these doubts.
 
 LIFE OF BEETHOVEN. 191 
 
 be composed by Beetboven. Tbose publishers 
 having consulted me on the business, I ad- 
 vised them to demand a sight of the work in 
 Beethoven's hand-Avriting, adding, that there 
 existed no authentic manuscript Opera by 
 Beethoven. The particulars of this not un- 
 important affair were published in 1828, in 
 the 7th volume of the Cseciha. 
 
 It is a positive fact, that Beethoven never 
 wrote any scientific work, either on music or 
 any other subject. Whatever w^orks, there- 
 fore, may have been published under his 
 name, cannot be authenticated upon autogra- 
 phic evidence. 
 
 I will wind up these biographical particu- 
 lars with a description of the great master's 
 personal appearance, together with a few re- 
 marks on the best portraits of him with which 
 1 am acquainted. 
 
 Beethoven's height scarcely exceeded five 
 feet four inches, Vienna measure. His figure 
 was compact, strong, and muscular. His 
 head, which was unusually large, was covered 
 with long bushy grey hair, which, being
 
 192 LIFE OF BEETHOVEN. 
 
 always in a state of disorder, gave a certain 
 wildness to his appearance. This wildness 
 was not a little heightened when he suffered 
 his beard to grow to a great length, as he 
 frequently did. His forehead was high and 
 expanded ; and he had small brown eyes, 
 which, when he laughed, seemed to be nearly 
 sunk in his head ; but, on the other hand, they 
 were suddenly distended to an unusually large 
 size when one of his musical ideas took posses- 
 sion of his mind. On such occasions he would 
 look upwards, his eyes rolling and flashing 
 brightly, or straightforward with his eyeballs 
 fixed and motionless. His whole personal ap- 
 pearance then underwent a sudden and strik- 
 ing change. There was an air of inspiration 
 and dignity in his aspect ; and his diminutive 
 figure seemed to tower to the gigantic pro- 
 portions of his mind. These fits of sudden 
 inspiration frequently came upon Beethoven 
 when he was in company, and even when he 
 was in the street, where he naturally excited 
 the marked attention of every passer by. 
 Every thought that arose in his mind was
 
 LIFE OF BEETHOVEN. 193 
 
 expressed in his animated countenance. He 
 never gesticulated either with his head or his 
 hands, except when he was standing before 
 the orchestra. His mouth was well formed ; 
 his under lip (at least in his younger years) 
 protruded a little, and his nose was rather 
 broad. His smile diffused an exceedingly 
 amiable and animated expression over his 
 countenance, which, when he was in conver- 
 sation with strangers, had a peculiarly pleas- 
 ing and encouraging effect. But though his 
 smile was agreeable, his laugh was otherwise. 
 It was too loud, and distorted his intelligent 
 and strongly marked features. When he 
 laughed, his large head seemed to grow 
 larger, his face became broader, and he might 
 not inaptly have been likened to a grinning 
 ape ; but fortunately his fits of laughter were 
 of very transient duration. His chin was 
 marked in the middle and on each side with 
 a long furrow, which imparted a striking pe- 
 culiarity to that part of his countenance. His 
 complexion was of a yellowish tint, which, 
 however, went off in the summer season, when 
 
 VOL. II. K
 
 194 LIFE OF BEETHOVEN. 
 
 he was accustomed to be much out in the 
 open air. His plump cheeks were then suf- 
 fused with fresh hues of red and brown. 
 
 Under this latter aspect, full of health and 
 vigour, and during one of his intervals of 
 inspiration, the painter, H. Schimon, (now 
 in JMunich,) took his likeness. The picture is 
 a bust size, in oil. At the time it was paint- 
 ed, Beethoven was forty-nine years old. The 
 engraving prefixed to this work is taken from 
 it. Some years after this picture was painted, 
 another was executed by Stieler, the portrait 
 painter to the court of JMunich. This is a 
 half length, and the composer is represented 
 with a pen in his hand, writing on a piece of 
 music paper the words " Missa Solennis." 
 This picture is excellent, and the likeness 
 faithful ; but it has not the air of vigour and 
 animation portrayed in that of Schimon, the 
 absence of which may be easily accounted for, 
 Beethoven having suffered a fit of illness of 
 two years' duration. But he remained as 
 Stieler's portrait represents him until his 
 death, which took place five years after the
 
 LIFE OF BEETHOVEN. 195 
 
 picture was painted. . Beethoven's family 
 possess a portrait of him, which was painted 
 at an earlier period than either of those I 
 have described. It is a half length, and re- 
 presents him in a sitting posture. 
 
 These three pictures are the only ones 
 which can be relied on, as likenesses of the 
 great composer, and as worthy of the atten- 
 tion of his admirers. The few others which 
 are here and there to be seen are valueless, 
 having been painted merely from the imagi- 
 nation of the artists. 
 
 The same remark is applicable to most of 
 the copperplate and lithographic portraits of 
 Beethoven. Excepting the copperplate en- 
 graving by Letronne, and the lithographic 
 drawing after Stieler's picture, (however only 
 those published by Trentschensky, late Arta- 
 ria, in Vienna,) I know of no print which 
 conveys an accurate idea of the countenance 
 of my beloved friend and master — that coun- 
 tenance which I fancy I still behold, living, 
 and before me. 
 
 k2
 
 196 LIFE OF BEETHOVEN, 
 
 [The author of this Biography adds here an 
 Appendix, which I have omitted, as having too little 
 relation with the object of this work, and by his 
 own authorisation to the publisher. It suffices to 
 mention that it treats of the state of music at 
 Miinster and Aix-la-Chapelle. In the first town 
 M. Schindler lived three years as director of a mu- 
 sical institute, and since 1835 he has been music- 
 director at Aix-la-Chapelle. In both these towns 
 he has endeavoured, more or less successfully, to 
 exalt the taste for classical music. He bears tes- 
 timony also against the eccentricity and degeneracy 
 of the modern style of pianoforte-playing, particu- 
 larly in reference to the manner of performing 
 Beethoven's music, and draws the attention of the 
 musical world to a most promising talent, a Mdlle. 
 Hansemann, in Aix-la-Chapelle, his pupil. This 
 lady, according to his expectations, will develop in 
 her style of playing the true spirit of Beethoven. 
 —Ed.]
 
 SUPPLEMENT 
 
 TO VOLUME II.
 
 SUPPLEMENT TO VOL. IL 
 
 No. L 
 Beethoven's Letters to Mlle. von "Breuning, 
 
 WeGELER, and RlES. 
 
 I. 
 
 To Mlle. von Breuning. 
 
 Vienna, November 2nd, 1793. 
 
 Charming Eleonora — my dearest friend, 
 
 A year has elapsed since my stay in this capital, 
 and this is the first letter you receive from me ; yet 
 rest assured you have ever lived in my recollection. 
 I have often conversed with you and yours, although 
 not with that peace of mind which I could have 
 desired, for the late wretched altercation was hover- 
 ing before me, showing me my own despicable con- 
 duct. But so it was ; and what would I not give, 
 could I obliterate from the page of my life this past 
 action, so degrading to my character, and so imlike 
 my usual proceedings.* It is true, there were many 
 circumstances widening the breach between us, and 
 
 * This fully proves that Beethoven always showed more contri- 
 tion than his fault could warrant. The cause of the altercation is 
 not mentioned in Wegeler's Notlzen, from whicli these letters are 
 extracted. — Eu.
 
 200 Beethoven's letters 
 
 I presume that in those whisperings, conveying to 
 us our mutual expressions, lay the chief source of 
 the growing evil. We both imagined that we spoke 
 from conviction, and yet it was but in anger, and 
 we were both of us deceived. Your good and noble 
 mind has, I know, long forgiven me, but they say 
 that self-accusation is the surest sign of contrition, 
 and it is thus I wanted to stand before you. Now 
 let us draw a veil over the whole affair, taking a 
 warning by it, that, should a difference arise between 
 friends, they should not have recourse to a me- 
 diator, but explain face to face. You receive here- 
 with a dedication from me to you, and I only wish 
 the Avork were greater and more worthy of you. 
 They wanted me here to publish this little work, 
 and I avail myself of the opportunity, to give you, 
 my charming Eleonora, a token of my friendship 
 and esteem, as well as a proof that you and all yours 
 are ever present to my memory. Accept this trifle 
 as coming from a warm admirer. Oh ! if it could 
 but give you pleasure, my wishes would be fulfilled.* 
 Let it be a revival of the many blessed hours which 
 I spent at your house ; perhaps it may tend to re- 
 
 * This work was the Variations on Mozart's Figaro, " Sff 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.
 
 TO MLLE. VON BREUNTNG. 201 
 
 call me to your mind until I return, which however 
 will not be so soon. How we loill rejoice then, my 
 dear friend ; you will find me a more cheerful crea- 
 ture, whose days of trouble have passed away, their 
 furrows smoothed by the lot of better days ! Should 
 you see B. Koch,* I beg you will tell her it is not 
 fair that she has not once written to me, whilst I 
 sent her two epistles, to Malchus f three, and no 
 answer. Tell her that if sJie chooses not to write 
 she should at least make Malchus do so. I venture 
 to conclude with a request that I might be so happy 
 as once more to be put in possession of an Angola 
 waistcoat, knitted by your hand.| Do excuse the 
 troublesome request of your friend : it originates 
 in a great predilection for all that comes from your 
 hands, and, let me acknowledge the secret, in the 
 gratification of my vanity, at being able to say that 
 I possess something from one of the best and most 
 charming young ladies of Bonn. I have still got 
 the one which you were so kind as to give me at 
 
 * Barbara Koch, afterwards Countess Belderbusch, an intimate 
 friend of Madame von Breutiing, a lady distinguished alike in all 
 the qualities which can adorn the mind of woman. She- was sur- 
 rounded 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. 
 
 f Afterwards Count of Marienstadt, and a classical writer. 
 
 X Angola rabbits, or silk hares. 
 
 K 3
 
 202 Beethoven's letters 
 
 Bonn, but the present fashion has made it look so 
 antiquated, that I can only keep it in my wardrobe 
 as your gift, and as such it will ever be dear to me. 
 You would give me sincere pleasure were you to 
 favour me soon with a letter. Should you like to 
 have any of mine, I promise you I shall await the 
 opportunity to show you in this, as in all other in- 
 stances, how truly I am 
 
 Your friend and admirer, 
 
 L. V. Beethoven. 
 
 P.S. The Variations will be somewhat difficult to 
 play, particularly the shake in the Coda.* But 
 let not that alarm you ; it is so managed that you 
 need only do the shake, leaving out the other notes 
 which occur in the violin part also. I shoidd never 
 have written such a thing, but that I had noticed 
 an individual about Vienna who, after having heard 
 me extemporize the preceding evening, put down 
 many of my peculiarities the next day, showing 
 them off as his own.f Taking it for granted that 
 
 * A shake is carried on through several bars with alternate 
 fingers, whilst three fingers are employed besides. The fingering 
 is marked. 
 
 jf Beethoven complained to me of this musical espionage. He 
 named to me the Abbe Gelinek, that most fertile writer of Varia- 
 tions, 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.
 
 TO MLLE. VON BREUNING. 203 
 
 such things would shortly appear, I thought it 
 wiser to be the first to publish them. Another 
 reason was to put the piano-forte masters of tliis 
 place to confusion, for many of them are my deadly 
 enemies, and I thus take my revenge upon them, 
 knowing how they will be asked every now and 
 then to play these Variations, and to how little ad- 
 vantage my gentlemen will appear in them. 
 
 Beethoven. 
 
 2. 
 
 Second Letter to Mlle. v. Breuning. 
 
 I was most agreeably surprised by the beautiful 
 cravat, the work of your hands. It created sensa- 
 tions of sorrow, much as I was pleased by the thing 
 itself. This sorrow was called up by a recollection 
 of former times, and by the shame I felt at your 
 generous conduct. Truly, I did not think you had 
 deemed me worthy of your remembrance. Oh ! 
 could you have witnessed my feelings at yester- 
 day's occurrence, you would not deem me guilty 
 of extravagance when I assure you that your re- 
 membrance saddened me and called forth many 
 tears. Do pray believe me, little as I may have 
 deserved it, believe me, my friend (let me ever 
 call you such), I have suffered much, and still 
 suffer, from the loss of your friendship. Never
 
 204 Beethoven's letters 
 
 shall I forget you • and your dear mother. You 
 ^vere so khid to me that your loss cannot and will 
 not so soon be made up to me. I know what I had, 
 what I lost, and what you were to me; but I 
 must return to scenes equally painful for you to 
 hear, as for me to relate, were I to fill up this 
 blank. 
 
 As a slight return for your kind recollection of 
 me, I take the liberty of sending the Variations and 
 the Rondo with violin accompaniments. I am very 
 busy just now, or I would have copied the long- 
 promised Sonata for you. It is but a sketch in my 
 manuscript, and even Paraquin, clever as he is, 
 would have had much difficulty in transcribing it. 
 You may have the Rondo copied, and return the 
 score ; that which I now send is the only thing 
 amongst my works which could be of use to you, 
 and as you are about going to Kerpen, I thought 
 these trifles might afford you some pleasure. 
 
 Farewell, my friend, I cannot possibly give you 
 any other name ; indifferent as I may be to you, I 
 hope you will believe in the assurance of my regard 
 for yourself and your mother. Pray let me know 
 if I have it in my power in any way to contribute 
 to your pleasure ; it is the only remaining means 
 of showing you my gratitude for past kindness. 
 A happy journey to you, and may your dearest
 
 TO WEGELER. 205 
 
 mother return borne perfectly recovered ! Do not 
 forget 
 
 Your still admirincr friend, 
 
 Beethoven. 
 
 3. 
 
 Beethoven to Wegeler. 
 
 Vienna, June 29, 1800.* 
 My dear and beloved Wegeler, 
 
 A thousand thanks to you for your recollection 
 of me ; I have not deserved it ; I have not even 
 tried to deserve it ; and yet ray most unpardonable 
 carelessness cannot check your friendship, which 
 remains pure and unshaken. Do not for a moment 
 think that 1 could forget you or any of those once 
 so dear to me; there are times when I long for you, 
 when I sincerely wish to stay with you for a while. 
 My country and the charming place which gave 
 me birth are ever before my eyes ; their beauty 
 undimmed as when I left them — in short, I shall 
 consider that time the happiest, which leads me 
 back to you all, once more greeting the Rhine in 
 its patriarchal beauty. I cannot tell you when this 
 may be, but thus much I must say to you all, that 
 you shall not see me until 1 am much greater — 
 not greater only in my art, but better and more 
 
 * Tlie date of the year is wanting, but it is most probably 1600.
 
 206 Beethoven's letters 
 
 perfect as a man ; and then, if our country should 
 be more flourishing, I will employ my art for the 
 benefit of the poor only.* O blessed moment ! how 
 happy do I deem myself that I can call thee forth, 
 that I can myself create thee ! * * * 
 
 You wish me to say something of my circum- 
 stances ; w^hy, they are by no means bad. Lichnow- 
 sky, who, improbable as it may seem to you, from 
 the little altercations we have had, but which tended 
 only in confirming our friendship! — Lichnowsky, 
 
 * Bonn had, through the war, lost its prince, the court, the ad- 
 ministrative body — in fact, all its resources. It never had any 
 trade or manufactures. 
 
 f Beethoven was most easily excited, and consequently very 
 irritable ; but v/hen the first burst of passion had subsided, he had 
 an open ear and a yielding heart for the reproofs of his friends. 
 He would consequently be much more contrite than the occasion 
 warranted. I have now before me a note of his which I received 
 at Vienna, and which runs thus : — " What an abominable picture 
 of myself you have shown me! Oh ! I feel it : I am not worthy of 
 your friendship. I did not meditate a base action : it was thought- 
 lessness which urged me to my unpardonable conduct towards 
 you." Thus he fills three pages ; and this is the end : — " But no 
 more. I fly to you, and in an embrace ask for my lost friend ; 
 and you will restore him to me — to your contrite, faithful, and 
 loving friend, Beethoven." The two letters to Mile, von Breu- 
 ning, as above quoted, are of the same tenor. He had quarrelled 
 with Stephen von Breuning (as with what friend did he not 
 quarrel ?), but, being made sensible of his grievous wrong, he wrote 
 and acted in the same way, upon which the most heartfelt recon- 
 ciliation took place ; and the sincerest friendship subsisted uninter- 
 ruptedly between them until Beethoven's death.
 
 TO AVEGELER. 207 
 
 who has always been my warmest patron, has settled 
 upon me the sum of six hundred florins, which I 
 may draw imtil I find a convenient appointment ; 
 my compositions are weU paid, and I may say I 
 have more orders than I can well execute; six or 
 seven publishers, and more, being ready to take any 
 of my works : I need no longer submit to being 
 bargained with — I ask my terms, and am paid. 
 You see this is an excellent thing ; as, for instance, 
 I see a friend in want, and my purse does not at the 
 moment permit me to assist him ; I have but to 
 sit down and write, and my friend is no longer in 
 need. I am grown much more economical too ; 
 should I remain here, I think I may rely upon 
 having a day for a concert once a-year. I have 
 already had several. But an evil spirit in the shape 
 of my bad health plays me false ; my hearing has 
 become weaker and weaker for the last three years, 
 and my constitution has been much weakened by a 
 stomach complaint, fearfully increased during my 
 stay here, which is said to be the cause of this evil. 
 Frank wanted to restore my health by tonics, and 
 my hearing by oil of almonds ; but, alack a-day, 
 this was not to be ! My hearing remained impaired, 
 my digestion in its former condition ; this continued 
 till last autumn, when I wasmany a time in despair. 
 A medical practitioner of the genus ass advised
 
 208 Beethoven's letters 
 
 the cold bath for me ; a more rational one ordered 
 me that of the Danube, which is tepid : this did 
 wonders ; my general health improved, my hearing 
 continued bad, or became worse. Last winter I 
 was in a wretched state — every ailment returning 
 with renewed force, until about a mouth agfo I went 
 to Vering, judging that my case might require 
 surgical, as well as medical assistance, and having 
 much confidence in his skill. He succeeded in 
 alleviating my sufferings by the use of the tepid 
 bath, into which was poured a strengthening mix- 
 ture; he gave me no medicine, only four days ago 
 I had some pills, besides a tea for my ears, and I 
 may say I feel stronger and better — but my ears ! 
 they are ringing and singing night and day. I do 
 think I spend a wretched hfe ; for the last two years 
 shunning all society, because I cannot bring myself 
 to walk up to people and say, " / am deafy In 
 any other profession this might pass ; but in the one 
 I have chosen, it is a wretched plight to be in ; be- 
 sides, my enemies, who are not few in number, what 
 would they say ? To give you a notion of this ex- 
 traordinary deafness, I must tell you that I am 
 forced in a theatre to lean up close to the orchestra 
 in order that I may understand the actor. I do 
 not hear the high notes of instruments or singers at 
 a certain distance, and it is astonishing that there
 
 To AVEGELER. 209 
 
 are individuals who never noticed it while conversing 
 with me; from my having been subject to frequent 
 reveries, they attribute my silence to these. T 
 sometimes hear those who speak in a low voice — 
 that is to say, the sounds, but not the words, and 
 yet if any one begins to bawl out, it annoys me ex- 
 cessively. Heaven knows what it may end in ! 
 Vering says I shall certainly be much better, 
 although T may not entirely recover. 1 have often 
 cursed my existence; Plutarch has won me back 
 to resignation. I will, if possible, defy my fate, 
 although there will be moments when I shall be 
 the most miserable of God's creatures. I beg of 
 you not to mention my affliction to any one — no, 
 not even to Laura. I confide this secret to you 
 only, and should be glad if you would, some day, 
 enter into correspondence upon it with Vering. 
 Should it continue, I shall come to you next spring. 
 You will take a cottage for me in some beautiful 
 spot in the country, and there I shall ruralize for 
 six months ; perhaps that may work a change. 
 Resignation ! what a miserable resource, and yet 
 it is the only one' left me. Do excuse my troubling 
 you with my griefs, when you are already in sorrow 
 yourself. 
 
 Stephen Brcuning is here, and I see him daily, 
 enjoying those recollections which his presence calls
 
 210 Beethoven's letters 
 
 back to my mind. He is indeed grown an excel- 
 lent fellow, as kind and true-hearted as I trust we 
 all are. I have beautiful rooms just now, leading 
 on to the Bastei (ramparts), and of infinite value 
 to me, on account of mv health. I believe I shall 
 be able to prevail upon Breuning to come to me. 
 You shall have your Antiochus, and plenty of my 
 music, if you do not think they will put you to too 
 much expense. Honestly speaking, I am truly 
 pleased with your love of the art. Let me but 
 know how, and I will send you all my works, which 
 are now become pretty numerous, and daily in- 
 creasing. I send you in exchange for my grand- 
 father's picture, which I beg you will forward to 
 me by coach, that of his grandson, your ever faith- 
 ful Beethoven ; it has appeared at Artaria's, who, 
 together with many other publishers, solicited me 
 to let them have it. I intend shortly to write to 
 Stephen, for the purpose of lecturing him upon his 
 obstinate mood. I will make his ears ring with our 
 old friendship, and entreat him not to add vexation 
 to your sufficiently saddened circumstances. I 
 shall also write to the amiable Laura. I have 
 never forgotten one of yoti, dear, kind friends, even 
 when I was most silent ; for, as to writing, why, that 
 you know never was my forte — the dearest friends 
 have not had letters from me for years. I live en-
 
 TO WEGELER. 211 
 
 tirely in my music, and no sooner is one thing 
 finished than I beofin another — indeed, I now some- 
 times write three or four things at the same time. 
 Pray let me hear from you oftener, and I will take 
 care to find time for replying to your letters. Kind 
 regards to all, including my dear INIme. v. Breu- 
 ning ; tell her I am still subject to the " raptus." 
 As to K., I am not surprised at the change in her. 
 Fortune's wheel is round, and does not always halt 
 before the best and noblest. 
 
 A word about Ries, to whom give my kind re- 
 gards, and say that I shall further write to you 
 respecting his son, although I believe Paris would 
 be a better place than Vienna to make his for- 
 tune in. Vienna is so overstocked, that even 
 those who have great merit stand a bad chance of 
 succeeding. By the autumn or winter I shall be 
 able to judge what I can do for him, as everybody 
 then hastens back to town. Farewell, my faithful 
 Wegeler. Be ever assured of the love and friend- 
 ship of 
 
 Yours, 
 
 Beethoven.
 
 212 Beethoven's letters 
 
 4. 
 
 Beethoven to Wegeler. 
 
 Vienna, Nov. 16, 1801. 
 My dearest Wegeler, 
 
 I am truly obliged for the new marks of 
 your interest in my welfare, the more so as I feel 
 myself unworthy of them. You wish to know how 
 I am, what I am taking; and, much as I dislike 
 conversing upon the subject at all, I would rather 
 do so with you, than with any one else. Vering, 
 for the last few months, has applied blisters to both 
 my arms, consisting of a certain bark, known to 
 you, as I suppose.* This is a most disagreeable 
 remedy, as it deprives me of the free use of my 
 arms for two or three days at a time, until the bark 
 has drawn sufficiently, which occasions a good deal 
 of pain. It is true, the ringing in my ears is some- 
 what less than it was, especially in my left ear, in 
 which the disease began, but my hearing is by no 
 means improved; indeed I am not sure but that 
 the evil is increased. My health is improved, and 
 the tepid bath always sets me up for eight or ten 
 days. I take but little medicine, and have begun 
 to use the herb-poultice as you prescribed. Vering 
 
 * The bark of daphne mezereum.
 
 TO WEGELER. 213 
 
 opposes the shower-bath. I am upon the whole 
 much dissatisfied with him ; he cares too little 
 about his patients; were I not to call upon him 
 sometimes, which indeed is but seldom, I should 
 never see him. What do you think of Schmidt ?* 
 I am not fond of changing, but I think Vering is 
 too much of the practitioner to allow of his gather- 
 ing fresh thoughts from books. Schmidt seems to 
 differ widely from him in this respect, and might 
 not be so careless. They tell me wonders of gal- 
 vanism ; what is your opinion of it ? A medical 
 man told me he had seen a deaf and dumb child 
 recover its hearing (at Berlin), as well as a man 
 who had been deaf for seven years. I hear that 
 your friend Schmidt j makes ^ experiments of this 
 nature. 
 
 I have begun to mix in society again, and thus 
 to enjoy my existence rather more than I did ; you 
 cannot conceive how deserted and miserable a life 
 I have led these two years, my deafness pursuing 
 me like a spectre and scaring me from mankind : I 
 must have appeared a perfect misanthrope, whilst 
 
 * John Adam Schmidt, councillor, &c. &c., oculist, and author 
 of several classical works. 
 
 f I lived in close and friendly intimacy with Schmidt and 
 Ilunczovsky up to their death. The former wrote under his por- 
 trait, which he sent me, — 
 
 " Cogiturc et esse sui, idem est. Wegelcro suo Schmidt."
 
 214 Beethoven's letters 
 
 I am so far from it. A dear and charming girl 
 has wrought this beneficial change in me; she 
 loves me as I do her, and this has brought back 
 some happy moments, the first I have enjoyed these 
 two years ; it is the first time I feel that marriage 
 could render me happy,* She is not, unfortu- 
 nately, of my station in life, and at present I cer- 
 tainly could not marry, for I must be tossed about 
 
 * My brother-in-law Stephen Breuning, Ferdinand Ries, Ber- 
 nard Romberg, and myself, have been taught by experience that 
 Beethoven was ever a slave to the tender passion, and that in the 
 highest degree. His and Stephen Brouning's first love was Mile. 
 Jeannette d'Honrath, of Cologne, who often spent some weeks at 
 the residence of the Breunings. She was as fair as lively, engaging 
 and amiable, had a beautiful voice, and delighted in music. She 
 often used to sing, in derision, to our friend, the well-known song : — 
 
 " What ! part with thee this very day? 
 My heart a thousand times says nay, 
 And yet I know I must not stay." 
 
 The happy rival was Major Greth, of Cologne, who married the 
 fair ladv- This attachment of Beethoven's was followed by one 
 
 for the amiable Mile. W ; and it is but three years since 
 
 B. Romberg told me many anecdotes of this Werther-like love. 
 Neither this nor any of the former inclinations left any lasting im- 
 pression upon his own mind or that of the fair ones. Beethoven 
 was a great favourite at Vienna, and perhaps more so than many 
 an Adonis might be ; and I will leave connoisseurs and dilettanti 
 to judge whether " Adelaide,"' " Fidelio," and many other things, 
 could have been written if the author had not experienced those 
 feelings which they so admirably depict. But let us take the 
 author's word for it, as given in this letter, that he was swayed by 
 love. To the best of my knowledge, his affections were generally 
 placed in the higher ranks.
 
 TO WEGELER. 215 
 
 the world first. Were it not for my hearing, I 
 should have travelled over half the globe — that is 
 what I long for. My greatest enjoyment is to pur- 
 sue my art and produce in it. Do not think I 
 should be happy with you all about me. In how 
 far could that ameliorate my condition ? Your 
 very anxiety for me would be painfully visible in 
 your looks, and would add to my misery. And 
 that beautiful country of mine, what was my lot in 
 it? — the hope of a happy futurity. This might 
 now be realised if I were freed from my affliction. 
 Oh, freed from that, I should compass the world ! 
 I feel it, my youth is but beginning — have I not 
 hitherto been a sickly creature? My physical 
 powers have for some time been materially in- 
 creasing, those of my mind likewise; I feel myself 
 nearer and nearer the mark — I feel, but cannot de- 
 scribe it. This alone is the vital principle of your 
 Beethoven. No rest for me, I know of none but 
 sleep, and 1 grieve at having to sacrifice to it more 
 time than I have hitherto deemed necessary. Take 
 but one half of my disease from me, and I will 
 return to you a matured and accomplished man, 
 renewing the ties of our friendship, for you shall 
 see me as happy as I maij be in this sublunary 
 world — not as a suft'erer, no, that would be more 
 than I could bear. I will blunt the sword of fate.
 
 216 Beethoven's letters 
 
 it shall not utterly destroy me. How beautiful it 
 is to live a thousand lives in one — no, I am not 
 made for a retired life, I feel it. You will write as 
 soon as possible, will you? Take care Stephen 
 make up his mind to take an appointment some- 
 where in the Teutonic Order. His health will 
 not endure the fatiguing life which he leads here ; 
 he is, moreover, so deserted that I do not see how 
 he is to stand it. You know how we get on here ; 
 indeed I will not assert that society would diminish 
 his exhaustion of nerve, and he is not to be pre- 
 vailed vipon to go anywhere. I had some music 
 at my rooms some time since; friend Stephen 
 did not appear. Do recommend him more cool- 
 ness and self-possession ; 1 have not succeeded in 
 enforcing it; without them he cannot recover his 
 health and happiness. Let me know in your next 
 letter whether you don't mind my sending you 
 a great quantity of my music ; you can sell that 
 which you do not want, and thus pay your postage^ 
 having my likeness into the bargain. JNIy kindest 
 remembrances to Laura, to mamma, also to Chris- 
 topher. You love me a little, eh ? Be assured 
 that I do love you, and remain ever your faithful 
 friend, 
 
 Beethoven.
 
 TO RIES. 217 
 
 5. 
 Beethoven to Ries. 
 
 Baden, July 24, 1804. 
 
 * * * * You will have been surprised at 
 the affair with Breuning;* believe me, my friend, 
 that I had been w^rought into this burst of passion 
 by many an unpleasant circumstance of an earlier 
 date. I have the gift of concealing and restraining 
 my irritability on many subjects ; but if I happen 
 to be touched at a time when I am more than 
 usually susceptible of anger, I burst forth more 
 violently than any one else. Breuning has doubt- 
 less most excellent qualities, but he thinks himself 
 utterly without faults, and j'et is most open to those, 
 for which he blames others. He has a littleness of 
 mind, which I have held in contempt since my in- 
 fancy. My powers of judgment had almost pro- 
 phesied to me the course which matters would take 
 with Breuning, for we differ too materially in our 
 manner of thinking, acting, and feeling. I fancied 
 late difficulties might have been overcome — ex- 
 perience has taught me otherwise, and now, no 
 more friendship for me. I have met with two 
 
 * This alludes to a violent quarrel which arose Ijetween the 
 composer and his friend, atjout some lodgings which the latter had 
 taken for him. 
 
 VOT.. 11. L
 
 218 Beethoven's letters 
 
 friends only in this world with whom I never had 
 any altercation ; but what men were they ! — the 
 one is dead, the other still alive. Although we have 
 not heard from each other these six years, yet I 
 know that I hold the first place in his heart, as he 
 does in mine. The basis of friendship should be 
 the greatest similarity in the minds and feelings of 
 men. I only wish you would read my letter to 
 Breuning and his to me. No, he will never regain 
 the place in my heart which he once held in it. 
 Whoever can attribute so mean a proceeding to his 
 friend^ and can himself act so basely towards him, 
 is not worthy of my friendship. Do not forget the 
 matter of my lodgings. Farewell. Do not tailor* 
 too much ; make my respects to the fairest of the 
 fair, and send me a dozen needles. I should never 
 have thought I could be as idle as I am here. 
 Should a fit of industry succeed I may accomplish 
 something grand. Vale. 
 
 Beethoven. 
 
 6. 
 
 Beethoven to Wegeler. 
 
 Vienna, May 2nd, 1810. 
 My good old Friend, 
 
 I can almost fancy these lines creating a sur- 
 * Ries then lived at a tailor's, who had beautiful daughters.
 
 TO WEGELER. 219 
 
 prise in your mind ; and yet, although left without 
 epistolary witnesses, you live most vividly in my 
 recollection; indeed, there is amongst my MSS. one 
 long destined for you, and which you will certainly 
 receive during this summer.* My retired life has 
 ceased these last few years, and I have been forcibly 
 drawn into the world. I have not yet decided for 
 or against this change, but who has not felt the 
 storm which is raging around us ? I, however, 
 should be happy, perhaps the happiest of men, had 
 not that demon taken possession of my ears. J 
 have read somewhere that man should not wilfully 
 part from this life whilst he could do but one good 
 deed ; and, but for this, I should ere now have 
 ceased to exist, and by my own hand too. Oh, life 
 is so charming ; but to me it is poisoned ! 
 
 You will not refuse my request to procure me a 
 copy of my baptismal register. Tiie expenses, 
 whatever they be, could be remitted to you by 
 Stephen Breuning, with whom I know you have a 
 running account, and I will settle with him. 
 Should you think it worth your while to investigate 
 the matter, and should you like to go from Cob- 
 lent z to Bonn for that purpose, I beg you will put 
 
 * My lot in this particular was that of his pupil Ries. The 
 dedication was made by letter only ; but are not such letters of 
 greater value ? 
 
 l2
 
 220 Beethoven's letters 
 
 your costs down to me. There is one thing to be 
 considered in the matter — that I had a brother 
 born before me, likewise named Ludwig, with the 
 second name of Maria, but who died young. The 
 birth of this brother should be ascertained previous 
 to my age being fixed.* I know I have been put 
 down as older than I am, by a mistake arising 
 from this circumstance. Alas ! I have lived some 
 time without knowing my own age. I had a family- 
 book; but that has been lost, the Lord knows how! 
 Do not be angry, therefore, if T recommend this to 
 you most warmly, and try to find out the birth of 
 the Ludwicj Maria, as well as that of the Ludwigr 
 who came after him. The sooner you send me the 
 register, the greater my obligation. They tell me 
 you sing a song of mine at your Freemasons' lodge ; 
 probably one in E major, which I have not got 
 myself; pray send it to me, and I promise to make 
 you ample amends for it.f Think of me with 
 kindly feehngs, little as I apparently deserve it. 
 
 * This alludes to what will appear by and by in Ries's sketches. 
 
 f Beethoven was here mistaken. It was not a song of his com- 
 position which he no longer possessed, but merely new words put 
 to Matthisson's Ode. I did the same thing with an early song of 
 Beethoven's — " Who is a free man?" (^fVer ist ein freier Mann ?) 
 Beethoven wished to have words for the theme of those Varia- 
 tions with which the grand Sonata, Op. 26, dedicated to Prince 
 Lichnowsky, commences. My attempt did not however satisfy 
 me : thus he never saw it.
 
 TO WEGELER. 221 
 
 Embrace your dear wife, kiss your children, and 
 all that are dear to you, in the name of your 
 friend, 
 
 Beethoven. 
 
 7. 
 Beethoven to Wegeler. 
 
 Vienna, Sept. 29, 1816. 
 
 I take the opportunity which offers through 
 J. Simrock,* to recall myself to your memor}^ I 
 hope you have received my engraving, f and the 
 Bohemian glass. As soon as 1 shall again wander 
 through Bohemia, you shall have something similar. 
 Farewell, you are husband and father — so am I, 
 but without a wife. J Love to all yours — to all 
 mine. 
 
 Your friend, 
 
 Beethoven. 
 
 * Joseph Simrock, music publisher, the head of the present 
 house. 
 
 f " Dessine par Letronne, et grave par lloefel, 1814. For my 
 friend Wegeler. Vienna, March 27, 1815. Ludw. van Beethoven." 
 Our mutual friend, Director Eichhoff, l)rought it away for me after 
 the congress. 
 
 \ Beethoven was educating the son of his brother Caspar, who 
 bad died the preceding year.
 
 222 Beethoven's letters 
 
 8. 
 
 « 
 
 Beethoven to Wegeler. 
 
 Vienna, Oct. 7, 1826. 
 My old and dearest Friend, 
 
 I cannot give you an adequate idea of the delight 
 I felt in your and Laura's letter. It is true, my 
 answers should have followed with the swiftness of 
 an arrow; but I am careless in replying to my 
 friends, because I believe those whom I really love 
 know me without my writing to them. I often get 
 an answer ready in my thoughts, but when I want 
 to put it on paper I mostly throw away my pen, 
 because I cannot write as I feel. I do remember 
 every kindness you have shown me : for instance, 
 when you had my room whitewashed, and thus 
 made me a most agreeable surprise.* I feel the 
 same gratitude towards the Breunings : our sepa- 
 ration was the necessary result of the instability of 
 men's lives — each pursuing his own ends and trying 
 to fulfil destiny — the principle of all that is unalter- 
 ably good still firmly uniting us. I regret I cannot to- 
 day write you at full length as I should wish, being 
 in bed. I will answer but a few points of your 
 letter. You say that I am mentioned somewhere 
 
 * Beethoven was then living at Bonn, in the Wenzel Street.
 
 TO WEGELER. 
 
 09: 
 
 as a natural son of the deceased King of Prussia. 
 I had heard this long ago, but from principle I 
 have never written on myself, or answered anything 
 that others have said of me ; thus I leave you most 
 willingly to vindicate my parents' honour, and 
 especially that of my mother, in the eyes of the 
 world. You speak of your son. I hope it is 
 understood that when he comes here, he will find a 
 father and a friend in me, and that I shall serve 
 him with the greatest pleasure wherever I can. I 
 have yet your Laura's silhouette, a proof positive how 
 I still value all that was dear and near to me in my 
 youth. On the subject of my diplomas, I will men- 
 tion to you, but shortly, that I am an honorary 
 member of the Royal Society of Arts in Sweden, 
 the same in Amsterdam, and an honorary citizen of 
 Vienna. Some time ago a Dr. Spieker took away 
 with him to Berlin my last great Symphony with 
 chorusses ; it is dedicated to the King, and he made 
 me write the dedication in my own hand. I had 
 previously asked and received permission at the 
 embassy to dedicate the work to the King. On 
 Dr. Spieker's suggestion I had to send my MS., 
 with my own corrections and improvements, to His 
 Majesty, to be deposited in the royal library. 
 Something has been whispered to me about the 
 order of the Red Eagle of the Second Class. I
 
 224 Beethoven's letters 
 
 don't know liow it will end, for I never sought a 
 distinction like this ; in our times, however, it would 
 not be unwelcome to me for many reasons. 
 
 My motto is always — Nulla dies sine lined, and 
 if I give my muse any rest it is but that she should 
 arise with new vigour. I hope to achieve a few 
 more great works, and then to close ray earthly 
 career like an old child amongst some good people. 
 You will receive some music through tho, brothers 
 Schott, of Mayence. The portrait which I send 
 herewith is a master-piece of art, but not the last like- 
 ness which has been taken of me. I have to name 
 another mark of distinction conferred upon me, as I 
 know it gives you pleasure. A medal has been 
 sent me by the late King of France, with the in- 
 scription " Donne par le roi a M. Beethoven," and 
 accompanied by a most obliging letter of the Due 
 de Chartres, premier gentilhomme du roi.* Thus 
 much to-day. My dearest friend, I am over- 
 powered by the recollections of the past, and this 
 letter reaches you bedewed with my tears. Now 
 that a beginning is made, you shall soon hear from 
 me again, and the more you write, the greater will 
 be my happiness. There can be no question as to 
 our friendship on either side, and so farewell. I 
 
 * The reader may judge hereby what to think of Beethoven's 
 contempt of such distinctions.
 
 TO WEGELER. 225 
 
 beg you will embrace your dear Laura and your 
 children in my name, and think of me. God be 
 with you. With true esteem, ever your faithful 
 friend, 
 
 Beethoven. 
 
 9. 
 Beethoven to VVegeler. 
 
 Vienna, Feb. 17, 182".* 
 
 My old and worthy Friend, 
 
 I received most fortunately your second letter 
 through Breuning. I am still too weak to answer 
 it, but you may think that its contents are truly 
 welcome to me.f My convalescence, if such I may 
 call it, goes on slowly. It is to be expected that a 
 fourth operation must take place, although the 
 medical men have not yet pronounced upon 
 tliis. I take patience, and think : Evil some- 
 times leads to good. But how surprised I felt 
 to find from your last letter, that you had not re- 
 ceived anything. From the letter which you here 
 receive, you will see that I wrote on the 10th of De- 
 
 * A month before his death. 
 
 f I had, if my memory 8erve« me, reminded him of Blumauer, 
 who lived many years after having been tapped. I proposed to 
 him to fetch him from the Bohemian baths, take him by a circuitous 
 route to the Upper Rhine, and then down to Coblentz, where he 
 wa-s finally to recover. 
 
 l3
 
 226 BEETHOVEN TO WEGELER. 
 
 cember of last year. It is the same with the 
 portrait, as the date will show when it reaches you.* 
 Stephen insisted upon sending you the things by 
 private hand, but they were left until now, and it 
 was difficult to get them back even at this moment. 
 You will now receive the portrait by post through 
 Messrs. Schott, who also send you the music. I 
 should like to say much to you to-day, but I am too 
 weak, so I can only embrace you and Laura. 
 With true friendship and devotedness to you and 
 yours, believe me. 
 
 Your old and faithful friend, 
 
 Beethoven. 
 
 [This letter, too, was written in a strange hand, 
 and signed by Beethoven.] 
 
 * On the portrait stands, ahuve his name, " To my long tried and 
 much beloved friend, F. G. Wegeler." There is no date affixed.
 
 227 
 
 No. II. 
 
 [Beethoven's Correspondence with Mr. C. Neate, of London, and 
 F. Ries, (Beethoven's former pupil,) concerning the publication 
 of several of his Works — their performance at the Philharmonic 
 Concerts — Beethoven's intended Visit to England.*] 
 
 1. 
 
 Beethoven to Mr. Neate, at Vienna. 
 
 Vienna, December, 1815. 
 
 My dear Mr. Neate, 
 
 I have received a letter from Mr. Ries, as 
 amanuensis to Salomon (who has had the mis- 
 fortune to break his right shoulder in a fall from 
 his horse), and he tells me, on the 29th of Septem- 
 ber, that the three Overtures whicli you took of me 
 for the Philharmonic Society-f four months ago, 
 had not then reached London. This beings the 
 second remembrancer which Mr. Salomon sends 
 me on the subject, I thought I had better let you 
 know. Should you not have sent them off, I should 
 
 * I am indebted to the kindness of Mr. Neate for the following 
 correspondence, which succeeded the acquaintance formed between 
 the two at Vienna in the year 1815 ; and, as will bo seen, includes 
 a letter from Mr. Neate in elucidation of a misunderstanding 
 which had arisen between them. Beethoven's letters to Hies I ex- 
 tract from Dr. Wegeler's Notices, &c. — Ed. 
 
 f Mr. Neate was at the time one of the directoiB of the Phil- 
 harmouic Society. — Eu.
 
 228 Beethoven's letters 
 
 like to revise the Overture in C major, as it may be 
 somewhat incorrect. With regard to any written 
 agreement you may hke to have about these things 
 for England, that is very much at your service at a 
 moment's notice. I would not have them suppose 
 that I could ever act otherwise than as a man 
 of honour. There are dispositions so fickle that 
 they think one way to-day and another way to- 
 morrow, and fancy others as ready to change their 
 mind ; and with such tempers one cannot be posi- 
 tive and mistrustful enough. So fare you well, my 
 dear Mr. Neate. 
 
 Yours truly, 
 
 LuDwiG VON Beethoven. 
 
 2. 
 
 Beethoven to F. Ries. 
 
 Wednesday, November 22nd, Vienna, 1»15. 
 Dear Ries, 
 
 I hasten to inform you that I have to-day 
 sent off the piano-forte score of the Symphony in A 
 by post to the house of Thomas Coutts and Co. 
 The court not being here, there are very few, if any, 
 couriers, and this is, moreover, the safest way. The 
 Symphony is to be brought out about March. I 
 shall fix the day. It has been so long in doing, that 
 I cannot name an earlier time. The Trio in the
 
 TO NEATE AND RIES, 229 
 
 Sonata for violin may come out later, and both will 
 be in London in a few weeks. I beg of you, dear 
 Ries, to look after these thingfs^ and to take care I 
 receive the money ; the expenses are great ere 
 these things reach you. I want cash ; I have had 
 a loss of 600 florins in my yearly salary. At the 
 time of the bank-notes (Banco-Zettel) it was 
 nothing — the reduced paper-money (Einlosuvgs- 
 Scheine) succeeded, and it is through these I lose 
 the GOO florins, after several years of vexation and 
 entire loss of salary. We are now at a juncture 
 when the Einlosungs-Schehie stand lower than 
 ever did the Banco-Zettel. I pay 1000 florins 
 rent ; figure to yourself the misery which this paper- 
 money causes. My poor unhappy brother (Carl) 
 has just died; he had a bad wife; I may say he 
 was in a consumption for some years, and to make 
 life bearable to him, I gave him what I may reckon 
 at 10,000 florins (Wiener Wdhrung). I own this 
 is not much for an Englishman, but a vast deal for 
 a poor German or Austrian. The poor fellow was 
 much changed of late years, and I may say I lament 
 iiini with all my heart, whilst I am truly glad to be 
 able to say to myself, I have not neglected anything 
 which could contribute to his preservation. Tell 
 Mr. Birchall to repay you and Mr. Salomon for the 
 postage of your letters to me, and mine to you ; he
 
 230 
 
 BEETHOVEN S LETTERS 
 
 may deduct it from the sum which he has to pay 
 me ; I am anxious that those who are active for me, 
 should suffer the least possible through it, 
 
 Wellington s Victory at the Battle of Vittoria* 
 must have arrived long ago at Coutts and Co.'s. 
 Mr. Birchall need not pay me till he has got all 
 the works. Do let me know as soon as possible the 
 day which Mr. Birchall fixes for the publication of 
 the piano-forte score. Thus much to day, with the 
 warmest recommendation of my concerns ; I am at 
 your service wherever you may require it. Fare- 
 well, dear Ries ! 
 
 Your friend, 
 
 Beethoven. 
 3. 
 Beethoven to Ries. 
 
 Vienna, January 20, 1816. 
 
 My dear Ries ! 
 
 The Symphony will be dedicated to the 
 Empress of Russia, The piano-forte score of the 
 Symphony in A must not come out till the month of 
 June ; the publisher here cannot be ready before 
 that time. Will you, my dearest Ries, inform Mr. 
 Birchall of this without delay ? The Sonata, with 
 violin accompaniment, will be sent off by the next 
 
 * This is the title on the piano-forte score. — (Beethoven's own 
 note).
 
 TO NEATE AND RIES. 231 
 
 post^ and may be likewise published in London by 
 the month of May — the Trio somewhat later (you 
 will receive it by the next post^ too). I shall myself 
 fix the time for its publication. 
 
 And now, my dear Ries, take my sincere thanks 
 for all your good offices, and in particular for the 
 correction of the proofs. May Heaven bless you, 
 and may you progress more and more ; I shall ever 
 take the most sincere interest in it. My best 
 regards to your wife. 
 
 Ever your sincere friend, 
 
 LuDwia VAN Beethoven. 
 
 4. 
 
 Manuscript Agreement, as drawn up by Beethoven 
 for the Philharmonic Society of London, con- 
 cerning the above-named three MS. Overtures : — 
 
 Vienna, Febriiary 5, 1816. 
 
 Mr. Neate has taken of me, in July, 181 5, three 
 Overtures for the Philharmonic Society of London, 
 and has paid me for them the sum of 75 guineas, 
 for which sum I engage, not to have these said 
 Overtures printed elsewhere, either in parts or 
 score, always reserving for myself the right to have 
 the said works performed wherever I please, and to 
 publish them in piano-forte arrangement so soon 
 as Mr. Neate shall write me word that they have
 
 232 Beethoven's letters 
 
 been performed in London ; besides which, Mr. 
 Neate assures me that he obhgingly takes upon 
 himself, after the lapse of one or two years, to obtain 
 the consent of the Society to my publishing these 
 three Overtures in parts as well as in score, their 
 consent to that effect being indispensable. Thus I 
 respectfully salute the Philharmonic Society. 
 
 LuDwiG VAN Beethoven. 
 
 5. 
 Beethoven to Ries. 
 
 Vienna, February 28, 1816. 
 
 * * * I have not been well for some 
 
 time ; my brother's death has had its influence 
 upon my mind and my writings. I am truly 
 grieved at Salomon's death ; he had a noble mind, 
 and I remember him since my earliest youth. You 
 have become his executor, and I, at the same time, 
 the guardian of my poor brother's child. You will 
 scarcely have had as much vexation as I had at 
 this death ; yet I feel the sweet consolation of 
 having rescued a poor little innocent from the 
 hands of an unworthy mother. 
 
 Farewell, dear Ries! If I can be of the least 
 use whatever to you, pray consider me wholly as 
 your true friend, 
 
 Beethoven.
 
 TO NEATE AND RIES. 233 
 
 6. 
 
 Beethoven to Ries. 
 
 Vienna, March 8, 1816. 
 
 My answer comes somewhat late ; but I was ill, 
 and had a good deal of work. * * * As yet I 
 have not seen a farthing of the ten ducats, and 1 
 begin to fancy that the English are generous only 
 in foreign countries; the Prince Regent, too, has 
 not even given me the value of the copying expenses 
 for my Battle, which I sent him, nor has he vouch- 
 safed a verbal or written acknowledgment. My in- 
 come amounts to 3400 florins in paper; I have to 
 pay 1 100 florins rent, and 900 florins to my servant 
 and his wife : now, do you calculate yourself what 
 remains ; and besides this, I have entirely to pro- 
 vide for my little nephew ; he is at school at pre- 
 sent, which costs about IIOO florins, and leaves 
 much to desire ; so I must go into regular house- 
 keeping to take him home. How much there is 
 required to live here, and yet there is no end to it 
 because — because — because — . You know what I 
 mean. I should be glad of some commissions from 
 the Philharmonic Society, besides the concert. 
 Above all, my dear pupil Ries should sit down and 
 dedicate something of sterling worth to me, upon
 
 234 Beethoven's letters 
 
 which the master would return measure for mea- 
 sure. How can I send you my portrait ? * * * 
 My best wishes for your wife ; alas, I have none ; 
 and one only have I met, but shall never possess 
 her ; this does not, however, make me an enemy to 
 the sex. 
 
 Your sincere friend, 
 
 Beethoven. 
 
 Beethoven to Ries. 
 
 Vienna, April 3, 1816. 
 
 * * * * Neate must be in London by this 
 time ; he has taken charge of several of my works 
 and has promised me all his interest for them. 
 The Archduke Rudolph, amongst others, plays 
 your compositions with me, dear Ries, and your 
 Soyno pleases me above all the rest. Farewell. I 
 comnaend me to your well-beloved wife and to all 
 the fair English women who will receive ray greet- 
 ings. Your true friend, 
 
 Beethoven.
 
 TO NEATE AND RIES. 235 
 
 s.* 
 
 Beethoven a Mr. Neate. 
 
 Vienne, le 15 Maj, 1816. 
 (Adresse Sailerstadt, No. 1055 et 1056, au 3eme etage.) 
 Mon tres cher ami ! 
 
 L'amitie de vous envers moi me pardonnera 
 touts le fauts centre la langue francaises, mais la 
 hate ou j'ecris la lettre, ce peu d'exercice et dans ce 
 moment meme sans dictionnaire francais tout cela 
 m' attire surement encore moins de critique qu' en 
 ordinairement. 
 
 Avanthier on me portoit un extrait d'une gazette 
 anglaise nommee Morning cronigle, ou je lisoit avec 
 grand plaisir, que la Societe philarmonique a donne 
 ma Sinfonie in A it; c'est une grande satisfaction 
 pour moi, mais je souhais bien d'avoir de vous 
 meme des nouvelles, que vous ferez avec tons les 
 compositions, que j'ai vous donnes: vous m'avez 
 promis ici, de donner un concert pour moi, mais ne 
 prenez mal, si je me mefis un peu, quand je pense 
 (|uc le Prince regent d'angleterre ne me dignoit pas 
 ni d'une reponse ni d'une autre reconnoissancc pour 
 
 * The reader will perceive that I have given this letter without 
 attempting to correct its ortliography, conceiving it to he one of 
 those cases where the original imperl'ection rather adds to tlian 
 dimiiiislies the interest of the document. — Ed.
 
 236 Beethoven's letters 
 
 la Bataile que j'ai envoye a son Altesse, et lequelle 
 on a donnee si souvent a Londve, et seulement les 
 gazettes annoncoient le reussir de cet oeuvre et 
 rien d'autre chose — conime j'ai deja ecrit une lettre 
 anglaise a vous mon tres cher ami, je trouve bien 
 de finir, je vous ai ici depeignee ma situation fatal 
 ici, pour attendre tout ee de votre amitie, mais 
 helas, pas une lettre de vous — Ries m'a ecrit, mais 
 vous connoissez bien dans ces entretiens entre lui et 
 moi, ce que je vous ne trouve pas necessaire d'expli- 
 quer. 
 
 J'espere done cher ami bientot une lettre de vous, 
 ou j'espere de trouver de nouvelles de votre sante 
 et aussi de ce que vous avez fait a Londre? pour 
 moi — adieu done, quant a moi je suis et je serai 
 toujour votre 
 
 vrai ami, 
 
 Beethoven. 
 
 9- 
 
 Beethoven to Mr. Neate. 
 
 Vienna, May 18, 1816.* 
 
 My dear Neate, 
 
 By a letter of Mr. Ries I am acquainted with 
 your happy arrival at London. I am very well 
 pleased with it, but still better I should be pleased 
 if I had learned it by yourself. 
 
 * This letter, not written but signed in Beethoven's own hand- 
 writing, is here given in the original English text. — Ed.
 
 TO NEATE AND RIES. 237 
 
 Concerninof our business, I know well enough 
 that for the performance of the greater works, as 
 the Symphony, the Cantate, the Chorus, and the 
 Opera, you want the help of the Philharmonic 
 Society, and I hope your endeavour to my advan- 
 tage will be successful. 
 
 Mr. Ries gave me notice of your intention to 
 give a concert to my benefit. For this triumph of 
 my art at London I would be indebted to you 
 alone ; but an influence still wholesomer on my 
 almost indigent life, would be to have the profit 
 proceeding from this enterprise. You know, that 
 in some regard I am now father to the lovely lad 
 you saw with me ; hardly I can live alone three 
 months upon my annual salary of 3400 florins in 
 paper, and now the additional burden of maintain- 
 ing a poor orphan — you conceive how welcome 
 lawful means to improve my circumstances must 
 be to me. As for the Quatuor in F minor, you 
 may sell it without delay to a publisher, and signify 
 me the day of its publication, as I should wish it 
 to appear here and abroad on the very day. The 
 same you be pleased to do with the two Sonatas Op. 
 102 for pianoforte and violoncello;* yet with the 
 latter it needs no haste. 
 
 I leave entirely to your judgment to fix the terms 
 * These were dedicated by the author to Mr. Neate. — Ed.
 
 238 Beethoven's letters 
 
 for both works, to wit, the Quatuor and the Sonatas^ 
 the more the better. 
 
 Be so kind to write to me immediately for two 
 reasons ; 1st, that I may not be obliged to shrink 
 vip my shoulders when they ask me if I got letters 
 from you ; and 2dly, that I may know how you 
 do, and if I am in favour with you. Answer me 
 in English if you have to give me happy news, (for 
 example, those of giving a concert to my benefit,) 
 in French if they are bad ones. 
 
 Perhaps you find some lover of music to whom 
 the Trio and the Sonata with violin, Mr. Ries had 
 sold to Mr. Birchall, or the Symphony arranged 
 for the pianoforte, might be dedicated, and from 
 whom there might be expected a present. In ex- 
 pectation of your speedy answer, my dear friend 
 and countryman, I am, yours truly, 
 
 LuDwiG VON Beethoven. 
 
 10. 
 Beethoven to Ries. 
 
 Vienna, June 11, 1816. 
 
 My dear Ries, 
 
 I am sorry again to put you to the expense 
 of postage ; much as I like to serve and assist 
 others, it always hurts me to draw upon them on my 
 own account. The ten ducats are not forthcoming.
 
 TO NEATE AND RIES. 239 
 
 which leads to the conclusion that in England, as 
 well as here, there are people who promise, but do 
 not perform. 
 
 I do not blame you in this matter. Not having 
 heard anything from Neate, I only beg you will 
 ask him, whether he has disposed of the Quartett 
 in F minor. I am almost ashamed to speak of all 
 the other w^orks intrusted to him, ashamed to own 
 to myself that I have given them to him with that 
 unbounded confidence which knows of no other con- 
 ditions, than those which his care and friendship 
 would suggest for my benefit. 
 
 I have had the translation of a notice in the 
 Morning Chronicle on the performance of ray Sym- 
 phony (probably the one in A) given to me. It 
 seems I shall fare with this work, and with all 
 those which Neate has taken, as I did wdth my 
 battle (of Vittoria). I shall read of their perform- 
 ance in the newspapers, and get nothing else by 
 them. 
 
 Yours, &c., 
 
 Beethoven. 
 
 Mr. Neate had been intrusted by Beethoven 
 with several MS. works, (the two Sonatas, Op. 102, 
 for pianoforte and violoncello, and the pianoforte 
 Trio in B flat, Op. 97.) to dispose of them to English
 
 240 Beethoven's letters 
 
 publishers, but found great obstacles in so doing 
 from the difficulty of the music and the unwilling- 
 ness of some of the principal music-publishers to 
 purchase works so little imderstood, by an author 
 too who, at that time, was more noted for his eccen- 
 tricities than for any of those noble attributes which 
 in after days have procured for him the admiration 
 of the age. The delays occasioned by these cir- 
 cumstances, as well as by others relating to Mr. 
 Neate's private life, and finally the unsatisfactory 
 results of his negotiations, led Beethoven to the 
 suspicion that his interest bad been neglected and 
 his confidence betrayed. This induced Mr. Neate 
 to write the following letter. 
 
 11. 
 
 Mr. Neate to Beethoven. 
 
 London, October 29, 1816. 
 
 My dear Beethoven, 
 
 Nothing has ever given me more pain than 
 your letter to Sir George Smart.* I confess that 
 I deserve your censure, that I am greatly in fault; 
 but must say also that I think you have judged too 
 hastily and too harshly of my conduct. The letter 
 I sent you some time since, was written at a moment 
 
 * This letter cannot be produced. — Ed.
 
 TO NEATE AND RIES. 241 
 
 when I ^vas in such a state of mind and spirits that I 
 am sure, had you seen me or known my sufferings, 
 you would have excused every unsatisfactory pas- 
 sage in it. Thank God ! it is now all over, and I 
 was just on the point of writing to you, when Sir 
 George Smart called with your letter. I do not 
 know how to begin an answer to it ; I have never 
 been called upon to justify myself, because it is the 
 first time that I ever stood accused of dishonour; 
 and what makes it the more painful is " that I 
 should stand accused by the man who, of all in the 
 world, I most admire and essteem, and one also 
 whom I have never ceased to think of, and wish for 
 his welfare, since I made his acquaintance." But 
 as the appearance of my conduct has been so un- 
 favourable in your eyes, I must tell you again of 
 
 the situation I was in, previous to my marriage. * 
 
 ♦ * * « 
 
 * * I remain in my profession, and with 
 
 no abatement of my love of Beethoven ! During 
 this period I could not myself do anything pub- 
 licly, consequently all your music remained in my 
 drawer unseen and unheard. I however did make 
 a very considerable attempt with the Philharmonic, 
 to acquire for you what I thought you fully entitled 
 to. I offered all your music to them upon condi- 
 tion that they made you a very handsome present ; 
 
 VOL. II. M
 
 242 Beethoven's letters 
 
 this they said they could not afford, but proposed 
 to see and hear your music, and then offer a price 
 for it ; I objected and replied " that I should be 
 ashamed that your music should be put up by auc- 
 tion and bid for ! — that your name and reputation 
 were too dear to me;" and I quitted the meeting 
 with a determination to give a concert and take all 
 the trouble myself, rather than that your feelings 
 should be wounded by the chance of their disap- 
 proval of your works. I was the more apprehensive 
 of this, from the unfortunate circumstance of your 
 Overtures not being well received ; they said they 
 had no more to hope for, from your other works. 
 I was not a Director last season, but I am for the 
 next, and then I shall have a voice which I shall 
 take care to exert. I have offered your Sonatas to 
 several publishers, but they thought them too diffi- 
 cult, and said they would not be saleable, and con- 
 sequently made offers such as I could not accept, 
 but when I shall have played them to a few pro- 
 fessors, their reputation will naturally be increased 
 by their merits, and I hope to have better offers. 
 The Symphony you read of in the ' Morning Chro- 
 nicle' I believe to be the one in C minor; it cer- 
 tainly was not the one in A, for it has not been 
 played at a concert. I shall insist iipon its being 
 played next sea=;on, and most probably the first
 
 TO neate and ries. 243 
 
 night. I am exceedingly glad that you have chosen 
 Sir George Smart to make your complaints of me 
 to, as he is a man of honour, and very much your 
 friend ; had it been to any one else, your complaint 
 might have been listened to, and I injured all the 
 rest of my life. But I trust I am too respectable 
 to be thought unfavourably of, by those who know 
 me. I am, however, quite willing to give up every 
 sheet I have of yours, if you again desire it. Sir 
 George will write by the next post, and will confirm 
 this. I am sorry you say that I did not even ac- 
 knowledge my obligation to you, because I talked 
 of nothing else at Vienna, as every one there who 
 knows me can testify. I even offered my purse, 
 which you generously always declined. Pray, my 
 dear friend, believe me to remain. 
 
 Ever yours, most sincerely, 
 C. Neate. 
 
 In reply to the above, Mr. Neate received the 
 following letter from Mr. Hiiring, a private gentle- 
 man and distinguished amateur on the violin, who 
 used to keep up a friendly intercourse with Beet- 
 hoven at Vienna : — 
 
 M 2
 
 244 Beethoven's letters 
 
 12. 
 Mr. HARl^G to Mr. C. Neate, 
 
 (At Beethoven's dictation.) 
 
 Vienna, 18th December, 1816. 
 1055, Seiler-Staette, third story. 
 
 My dear Sir, 
 
 Both letters to Mr. Beethoven and to me ar- 
 rived. I shall first answer his, as he has made out 
 some memorandums, and would have written him- 
 self, if he was not prevented by a rheumatic feverish 
 cold. He says: "What can I answer to your 
 warmfelt excuses ? Past ills must be forgotten, and 
 I wish you heartily joy that you have safely reached 
 the long-wished-for port of love. Not having 
 heard of you, I could not delay any longer the 
 publication of the Symphony in A which appeared 
 here some few weeks ago. It certainly may last 
 some weeks longer before a copy of this publication 
 appears in London, but unless it is soon performed 
 at the Philharmonic, and something is done for me 
 afterwards by way of benefit, I don't see in what 
 manner I am to reap any good. The loss of your 
 interest last season with the Philharmonic, when 
 all my works in your hands were unpublished, has 
 done me great harm ; but it could not be helped, 
 and at this moment I know not what to say. Your
 
 TO XEATE AND RIES. 245 
 
 intentions are good, and it is to be hoped that my 
 little fame may yet help. With respect to the 
 two Sonatas, Op. 102, for piano forte and violon- 
 cello, I wish to see them sold very soon, as I have 
 several offers for them in Germany, which depend 
 entirely upon me to accept ; but I should not wish, 
 by pviblishing them here, to lose all and every ad- 
 vantao^e with them in England. I am satisfied 
 with the ten guineas offered for the dedication of 
 the Trio, and I beg you to hand the title imme- 
 diately to Mr, Birchall, who is anxiously waiting 
 for it ; you'll please to use my name with him. I 
 should be flattered to write some new « orks for the 
 Philharmonic — I mean Symphonies, an Oratorio, or 
 Cantatas,* &c. Mr. Birchall wrote as if he wished 
 to purchase my ' Fidelio.' Please to treat with 
 hmi, unless you have some plan with it for my 
 benefit concert, which in general I leave to you 
 and Sir George Smart, who will have the good- 
 ness to deliver this to you. The score of the Opera 
 ' Fidelio' is not published in Germany or anywhere 
 else. Try what can be done with Mr. Birchall, or 
 as you think best. I was very sorry to hear that 
 the three Overtures were not liked in London. I 
 
 * In consequence of this offer, the Philharmonic Society ordered 
 I Symphony for one hundred guineas, and he accordingly sent 
 them his Ninth Symphony. — Ed.
 
 246 Beethoven's letters 
 
 by no means reckon them amongst my best works, 
 (which, however, I can boldly say of the Symphony 
 in A), but still they were not disliked here and in 
 Pesth, where people are not easily satisfied. Was 
 there no fault in the execution ? Was there no 
 party-spirit ? 
 
 " And now I shall close, with the best wishes for 
 your welfare, and that you enjoy all possible felicity 
 in your new situation of life. 
 
 " Your true friend, 
 " Louis VAN Beethoven." 
 
 13. 
 Beethoven to Ries. 
 
 Vienna, July 9, 1817. 
 
 Dear Friend, 
 
 I feel much flattered by the honourable pro- 
 posals you make me in your letter of the 9th of 
 June : this comes to show you how I appreciate 
 them, and, were it not for my unlucky affliction, and 
 for the additional attendance this wovdd make me 
 require on a journey and in a strange country, I 
 should at once accept the proposal of the Philhar- 
 monic Society. Now place yourself in my situa- 
 tion, consider how many more difficulties I have to 
 contend with than any other artist, and then judge 
 whether my demands be unjust. I am going here
 
 TO RIES. 247 
 
 to subjoin them, and beg you will communicate 
 them to the Directors of the above-named Society. 
 
 1. I mean to be in London in the middle of 
 January, 1818, at the latest. 
 
 2. The two grand new Symphonies are then to 
 be ready, and are to remain the Society's exclusive 
 property. 
 
 3. The Society to give me for them three hun- 
 dred guineas, and allow me one hundred guineas 
 for my travelling expenses, which will much exceed 
 that sum, as I must necessarily take some one 
 with me. 
 
 4. As I shall immediately begin the two Sym- 
 phonies, if my proposals be accepted, the Society 
 to send me at once a cheque of one hundred and fifty 
 guineas, that I may provide a carriage and other 
 necessaries for my journey without delay. 
 
 5. I accept the conditions relative to my non- 
 appearance in any other public orchestra, to my 
 non-conducting, to my giving the preference to the 
 Philharmonic Society upon equal terms, and in fact, 
 with my sense of honour, all this would have been 
 understood, though not mentioned. 
 
 C). I may rely upon the assistance of the Society 
 in one or more benefit concerts, as circumstances 
 may permit. I feel sure of this, from the feelings 
 of friendship of several of the Directors of this esti-
 
 248 Beethoven's letters 
 
 mable body, as indeed from the kind interest wliich 
 most of the professional men have shown for my 
 works ; this will be an additional spur to my en- 
 deavours to fulfil their expectations. 
 
 7. I also beg to have the above written out in 
 English, signed by three Directors of the Society, 
 and sent over to me. 
 
 You may easily imagine how I enjoy the thoughts 
 of becoming acquainted with the worthy Sir George 
 Smart, and of seeing you and Neate again. Would 
 I could fly across to you instead of this letter ! 
 Your sincere admirer and friend, 
 
 L. V. Beethoven. 
 
 (P.S. in his own hand.) 
 Dear Ries, — I embrace you wdth all my heart. 
 f have expressly made use of another hand for the 
 above that you might read and lay it before the 
 Society with more ease. I have full confidence in 
 your feelings towards me, and hope the Philhar- 
 monic Society will accept my proposals : you may 
 rest assured that I shall exert all my powers to 
 fulfil, in the worthiest manner possible, the honour- 
 able call of so distinguished a body of musicians. 
 How strong is your band? how many violins, &c. 
 &c., with single or double wind instruments ? Is 
 the room large — does the music tell in it ?
 
 TO RIES. 
 
 249 
 
 14. 
 Beethoven to Ries. 
 
 Vienna, March 5, 1818. 
 
 My dear Ries, 
 
 Much as I wished it, I could not po-sibly 
 manage to get to London this year ; I beg you will 
 inform the Philharmonic Society that it was my 
 weak state of health which prevented me. I have 
 some hopes of being effectually cured this spring, 
 and then I shall avail myself about autumn of the 
 proposals made to me by the Society — fulfilling all 
 their conditions. 
 
 Will you ask Neate in my name not to make a 
 public use, at least, of such works of mine as he 
 has got, until my arrival : whichever way matters 
 may stand with him, he has given me cause to 
 complain. 
 
 Potter called on me several times ; he seems to 
 be a crood creature, and has much talent for com- 
 position. I hope and wish that your circumstances 
 may improve from day to day ; I cannot say that 
 mine do. * ' * * * * 
 
 I cannot bear to see want — I must give ; so you 
 may fancy how much more I suffer in this matter. 
 Pray let me hoar from you soon. If possible, I 
 shall decamp sooner, to escape my utter ruin, and 
 shall be in London towards the end ol" winter at the 
 
 M 3
 
 250 Beethoven's letters 
 
 latest. I know you will assist a distressed friend ; 
 had it been in my power, and had I not ever been 
 fettered by circumstances, surely I should have done 
 much more for you. Fare you well ! remember 
 me to Neate, Smart, Cramer — although I under- 
 stand that the latter moves in contrary motion to 
 you and me. Never mind; I hope I somewhat 
 understand the art of managing such matters, and 
 producing a pleasing harmony at our meeting in 
 London. I embrace you with all my heart. 
 Your friend, 
 
 LuDwiG VAN Beethoven. 
 My kind regards to your dear, and, as I under- 
 stand, beautiful wife. 
 
 15. 
 Beethoven to Ries. 
 
 Vienna, April 30, IS 19. 
 
 My dear Ries, 
 
 I could not ere this answer your last letter of 
 the )8th of December. Your sympathy does me 
 good. It is impossible to get to London for the 
 present, entangled as I am in various ways; but 
 God will assist my plans of reaching it certainly 
 next winter, when I shall bring the new Sympho- 
 nies. I am in expectation of the text for an Ora- 
 torio which I am to write for our Musical Society, 
 and which may likewise serve us in London. Do
 
 TO RIES. 251 
 
 for me what you can, for I stand in need of it. I 
 should gladly have accepted any orders for the 
 Philharmotiic Society ; Neate's reports, however, 
 of the all but failure of the three Overtures have 
 vexed me ; they have not only been successful 
 here, each in its own way, but those in E flat and C 
 have even produced a powerful effect ; so that the 
 fate of these compositions in the Philharmonic 
 Society is a riddle to me. You will have received 
 the arrangement of the Quintetto and the Sonata. 
 Pray let them both be engraved immediately, espe- 
 cially the Quintetto. The Sonata may follow a 
 little more at leisure, but that too not later than 
 two or three months hence. I had not received 
 your former letter which you mention, and therefore 
 did not scruple to strike a bargain for both these 
 works in this place too — that is to say, only for 
 Germany. It will be three months before the So- 
 nata comes out here, but you must hurry with the 
 Quintett. As soon as you send me a cheque for ihe 
 money I shall let you have an agreement for the 
 publisher, securing him the property of these works 
 for England, Scotland, Ireland, France, &c. 
 
 The Tempi of the Sonata, according to Maelzel's 
 Metronome, will reach you by the next post. The 
 Quintett and Sonata are gone by De Smidt, courier 
 to Prince Paul Esterhazy. I *hall srnd my por-
 
 252 Beethoven's letters 
 
 trait by the earliest opportunity, as I under stand 
 that you really wish for it. Farewell ! think kindly 
 of your friend 
 
 Beethoven. 
 
 My best love to yotir best love ! ! ! 
 16. 
 
 Vienna, April 16, 1819. 
 
 Here, dear Ries ! are the Tempi of the So- 
 nata (Op. 106). First Allegro, Allegro alone, 
 strike out the assai, and add 
 
 o ^ 
 Maelzel's Metronome I - 138 
 
 Second movement Scherzoso, M. M. o, - 80 
 Third movement, M. M. ^ ~ ^'^ 
 
 * I have, in my edition of this Sonata, marked the time of thu 
 first movement 138 of Maelzel's Metronome, because Beethoven 
 himself had fixed that number. He, according to " Wegeler's 
 Notizen,'' gives it with a minim — I with a crotchet ; but neither 
 of these can, to my mind, be made to suit the character of the 
 movement. The minim increases it to so fearful a prestissimo as 
 Beethoven could never have intended, since he desired the Assai, 
 originally prefixed to the Allegro, to be omitted. The crotchet 
 slackens the movement all too much ; and although I have, in mv 
 edition, allowed Beethoven's numbers to remain, in deference to 
 the great man, yet I would advise the plaj-er to hold a middle 
 
 course, according to the following mark : — \ q. — Ed.
 
 TO RIKS. 
 
 253 
 
 Observe that another bar should be prefixed to 
 this movement, viz. : — 
 
 * New bar. 
 
 Former beginning. 
 
 
 :p — 11= m— — 
 
 5:- r-' I L 
 
 * Ries gives the following account of this new bar ; — All the 
 " Initiated"' must be interested in the striking fact which occurred 
 respecting one of Beethoven's last solo-Sonatas (in B major, with 
 the great Fugue Op. 106) — a Sonata which has forty-one pages of 
 print. Beethoven had sent it to me to London for sale, that it 
 might appear there at the same time as in Germany. The en- 
 graving was completed, and I in daily expectation of the letter 
 naming the day of publication. This arrived at la.st, but with the 
 extraordinary " request,'' — " Prefix the following two notes, as a 
 first bar, to the beginning of the Adagio.'' This Adagio has from 
 nine to ten pages in print. I own the thought struck me involun- 
 tarily, that all might not be right with my dear old master, a 
 rumour to that effect having often been spread. What ! add two 
 notes to a composition already worked out and out, and completed 
 .six months ago? But my astonishment was yet to be heightened 
 l)y the ejfect of these two notes. Never could such be found again — 
 so striking, so important — no, not even if contemplated at the very 
 lieginning of the composition. I would advise every true lover of 
 the art to jilay this Adagio first without, and then with these two 
 notes, which now form tlie first t)ar, and I have no doubt lie will 
 share in my opinion.
 
 254 Beethoven's letters 
 
 Fourth movement, Introduzione largo M.M. } -'^^ 
 ¥'\hh and last movement, | time 
 
 M. M.^l - 144 
 
 Excuse the mistakes ; if you knew my circum- 
 stances you would not be surprised at them, but 
 would wonder at what I produce in spite of them. 
 The Quintett cannot be delayed any longer, and 
 will shortly appear ; not so the Sonata, about which 
 I anxiously expect to hear from you, inclosing the 
 terms. The name of the courier, through whom 
 you have to receive the Quintett and Sonata, is De 
 Smidt. I beg to have a speedy answer, and shall 
 soon write more at length. 
 
 In haste, yours, 
 
 Beethoven. 
 
 * This minim should be a crotchet — an error which originates 
 either in a misprint in Dr. Wegeler's " Notizen," or in Beethoven's 
 own manuscript letter to Ries. — Ed.
 
 TO RIES. 255 
 
 17. 
 Beethoven to Ries. 
 
 Vienna, April 19, 1819. 
 
 Dear Friend, 
 
 Excuse the trouble which I am giving you. 
 I cannot account for the numerous mistakes which 
 have found their way into the copy of the Sonata, 
 unless, indeed, they proceed from the circumstance 
 of my not being able any longer to keep a copyist 
 of my own; events have brought this about, and 
 may the Lord help me until . . . become better 
 otf. This will take another twelvemonth. It is most 
 shocking how this matter has been broug^ht about, 
 and what has become of my salary, and no one 
 can say what may become of it, until the above- 
 mentioned twelvemonth comes round. Should the 
 Sonata (Op. 106) not do for London, I might send 
 another, or you may leave out the Largo and be- 
 gin with the Fuorue of the last movement, or else 
 the first movement, the Adagio, and for the third, the 
 Scherzo and the Largo and Allegro risoluto. I leave 
 it to you to manage this as you think proper.* 
 This sonata was written in time of need; for it is 
 
 * How numerous his proposals". How much scope he leaves 
 me ! Was it in presentimcut of the difliculties which would attend 
 its sale? — UiES.
 
 ^25G Beethoven's letters 
 
 hard to write almost for one's daily bread ; thus far 
 am I reduced. We must correspond further upon 
 my visit to London. It would certainly be the only 
 means of saving me from my miserable and needy 
 condition, which ruins my health, and will never 
 permit my faculties to act as they might under 
 more favourable circumstances. 
 
 Beethoven. 
 
 18. 
 Beethoven to Ries. 
 
 Vienna, Maj' 25, 1819. 
 
 * * * I. was all the while oppressed 
 
 with such cares as I had never known, and all 
 through my excessive benevolence to others. Write 
 on industriously. My dear little Archduke Rudolph 
 and I, we often play your works, and he says the 
 former pupil does his master credit. Now fare you 
 well. I content myself with embracing your wife — 
 who, I understand is very handsome — in fancy only, 
 for the present, but hope to have that pleasure in 
 reality during next winter. Do not forget the Quin- 
 tett, and the Sonata, and the money — I meant to say 
 the honor aire, avec ou sans honneur. I trust to hear 
 from you not only as fast as allegro, but velocejires- 
 tissimo, and good -tidings too. This letter reaches 
 you through a right clever Englishman ; they are
 
 TO RIES, 257 
 
 a powerful race for the most part, and I should like 
 to spend some time amongst them in their own 
 country. 
 
 Prestissimo — Responsio, il suo amico e maestro 
 
 Beethoven. 
 
 19. 
 Beethoven to Ries. 
 
 Vienna, November 10, 1S19. 
 
 Dear Ries, 
 
 I write to let you know that the Sonata is out, 
 that is to say, only about a fortnight ; and it is about 
 six months since both were sent to you — the Quin- 
 tett and the Sonata. I shall despatch in a few days 
 through a courier who leaves this, the Quintett as 
 well as the Sonata, so that you will be able to cor- 
 rect both works. Not having heard from you of 
 the receipt of either, I thought the matter had 
 fallen to the ground. Have I not been wrecked 
 once before in this year through Neate? I wish you 
 could try to get me the fifty ducats ; I have reck- 
 oned upon receiving them, and, indeed, have many 
 ways for my money. Enough for to-day, only let 
 me tell you that I have almosi concluded a new 
 Mass; let me know what you could do with it in 
 London ; but that soon, very soon, and soon too let 
 me have the money for botli the works. I will write
 
 258 
 
 BEETHOVEN S LETTERS 
 
 more fully another day. In haste, your true and 
 sincere friend, 
 
 Beethoven. 
 
 20. 
 Beethoven to Ries. 
 
 Vienna, April 6, 18'22. 
 
 My dearest Ries, 
 
 I have been ill again for the last six months 
 and more, and thus could never answer your letter. 
 I have received the £26, and am sincerely obliged 
 to you for them, but your Symphony dedicated to 
 me has not arrived. My greatest work is a grand 
 Mass, which I have lately written, &c. &c. Time 
 presses to-day, so I say only the needful ; what 
 might the Philharmonic Society offer me for a Sym- 
 phony ? 
 
 I will think of coming to London, if my healtli 
 would but permit it — perhaps next spring ! You 
 would find in me a master who truly appieciates 
 the pupil, in his turn become a great master, and 
 who knows how, and in what way, the art might 
 be benefited from our acting jointly. I am as ever 
 completely devoted to my muses, and this alone can 
 ensure me happiness. I act for others, too, as best 
 I may. You have two children — I have one (my 
 brother's son) — but you are married, consequently 
 your two cannot be as expensive as my one.
 
 TO RIES. 259 
 
 Now, farewell; kiss your fair lad 3', until I may 
 perform this solemn act in person. 
 
 Your sincere friend, 
 
 Beethoven. 
 
 P.S. Be quick in letting me have your dedication, 
 that I may show off in return, which I mean to do 
 as soon as I have received yours. 
 
 21. 
 Beethoven to Ries. 
 
 Vienna, December 20, 1822. 
 
 My dear Ries, 
 
 I have had so much business on hand, that I 
 could not send you a reply to your letter of the 15th 
 of November. I gladly accept the request of the 
 Philharmonic Society to write a new Symphony for 
 them ; although the terms offered are not what they 
 ou^lit to be, and what the English might afford, in 
 comparison to other nations. 
 
 If I covld but get to London, what would I not 
 write for the Philharmonic Society! for. Heaven 
 be praised, Beethoven can write, although he can do 
 nothing else. If it please God to restore my health, 
 which is somewhat improved, I may yet avail my- 
 self of the several proposals made to me from the 
 different parts of Europe, and even from North
 
 260 BEETIIOVENS LETTERS 
 
 America, and thus might I once more be put in a 
 flourishing state. 
 
 Yours, &c., 
 
 Beethoven. 
 22. 
 Beethoven to Ries. 
 [Extract of a letter, the beginning of which is 
 nowhere to be found.] 
 
 * * * Do get matters speedily ar- 
 
 ranged for your poor friend ; I expect your travel- 
 ling plan too ;* I can bear up no longer ; I am in 
 for it, deeper than ever; should I not go, look you, 
 there is a crimen lessee ! Since you seem to wish 
 for a dedication of mine, I am quite ready to gratify 
 you ; much more ready than I should be for any 
 great man — for the greatest, entre nous. 
 
 The d — 1 knows where one miorht fall into their 
 hands. You will receive the new Symphony (the 
 ninth with choral parts) with the dedication to yoiu-- 
 self. I hope at length to get possession of yours to 
 me. " B" is to open the letter to the king (George 
 the Fourth) he took charge of, and he will see what 
 has been written to the king- about the Battle of Vit- 
 toria ; the enclosed letter to himy contains the same ; 
 
 * The plan for Beethoven's journeJ^ 
 
 t The letter, sealed in two places, as also the direction on the 
 cover, were written in Beethoven's own hand. These were inclosed
 
 TO NEATE AND RIES. 261 
 
 but there is no longer a question about the Mass. 
 Let our amiable friend B. try and get me at least a 
 battle-axe or a turtle ; the printed copy of tlie score 
 of the Battle is, of course, also to be given to the King. 
 This letter puts you to great expence,* pray deduct 
 it from what you have to send me ; how much I re- 
 gret being so troublesome to you ! The Lord be 
 with you. Best love to your wife, until I come my- 
 self. Have a care; you think I am old ; I am an 
 old youngster. 
 
 Ever yours, 
 
 Beethoven. 
 
 Beethoven to Mr. Neate. 
 
 Vienna, February "25, 1823. 
 
 My dear friend, 
 
 Ries tells me you wish to have three Quartetts 
 of me, and I now write, to beg you will let me know 
 about what time they are to be ready, as I am fully 
 satisfied with your offer of a hundred guineas for 
 them ; only let me beg of you, to send me a cheque 
 for that sum, upon one of our banking-houses, so 
 
 in a letter to me, and a cover put over the whole. Probably the 
 address seemed so illegible to himself that he put a third cover 
 over it, without removing the second one. — Ries. 
 
 * Seventeen shillings : ten and a fifth Qorins. — Ries.
 
 262 Beethoven's letters 
 
 soon as T shall let you know that the Quartetts are 
 finished^ and I will, in my turn, deliver them to the 
 same banker upon the receipt of the hundred guineas. 
 I trust you are enjoying to the full the blessings of a 
 family life ; would I could have the pleasure of be- 
 coming an eye-witness to your happiness ! I have 
 sent Ries a new Overture for the Philharmonic 
 Society, and am only waiting the arrival of a cheque 
 for the new Symphony, to forward him that too, 
 through our Austrian embassy. You will find in 
 the bearer. Mr. A. Bauer, a man equally intelligent 
 and amiable, who can give you a full account of my 
 doings. Should my health improve * I mean to 
 visit England in 1824; let me know what you think 
 about it. I should be delighted to write for the 
 Philharmonic Society, to see the country and all its 
 distinguished artists ; and as to my pecuniary cir- 
 cumstances, they too might be materially benefited 
 by this visit, as I feel that I shall never make any- 
 thing in Germany. My name on the address of 
 letters is suflScient security for their reaching me. 
 With every kind wish for your welfare, believe me 
 Your sincere friend, 
 
 Beethoven. 
 
 * It has materially suffered during the last three yeara
 
 TO NEATE AND RIES. 263 
 
 •24. 
 Beethoven to Ries. 
 
 Vienna, April 25, 1823. 
 
 Dear Ries, 
 
 The cardinal (Archduke Rudolph) has been 
 staying here for a whole month ; and as I had to 
 give him two hours and a half's lesson per day,, I 
 was robbed of much time, besides feeling, the day 
 after such lessons, scarcely able to think, much less 
 to write. 
 
 My distressed circumstances, however, require 
 that I shovdd instantly write that which will pro- 
 cure money, sufficient for the moment. What a sad 
 discovery this must be to you ! And, moreover, all 
 my troubles have caused me to be unwell — have 
 given me sore eyes. But do not be alarmed ; you 
 will shortly receive the Symphony. Indeed it is all 
 brought on by these miserable circumstances. You 
 will also receive, a few weeks hence, thirty-three 
 new Variations on a subject (a Valse Op. 120) 
 dedicated to your wife. Bauer (first secretary to 
 the Austrian embassy) has the score of the " Battle 
 of Vittoria," which was dedicated to the then Prince 
 Regent, and for which I have still to receive the 
 copying expenses. Now I beg of you, dear friend, 
 to send me, as soon as possible, a draught for the
 
 264 begtiioven's letters 
 
 amovint of whatever you may be able to get me 
 for it. You and I know the publishers well. 
 
 With regard to your tender conjugal point, you 
 will always find me in direct opposition to yourself, 
 and decidedly taking the lady's part. 
 
 Ever your friend, 
 
 Beethovf:k. 
 
 25. 
 Beethoven to Rtes. 
 
 Hetzeudorf, near Vienna, July 16, 1823. 
 
 My dear Ries, 
 
 The receipt of your letter, the day before 
 yesterday, gave me great pleasure. I suppose you 
 have got the Variations by this time. I could not 
 write the dedication to your wife, as I do not know 
 her name. Pray make it in the name of your own 
 and your wife's friend, and let her be surprised 
 with it, on its coming out. The fair sex is fond of 
 that sort of thing. Between ourselves, the great 
 charm of the beautiful lies in its coming upon us 
 unawares. 
 
 With regard to the AUegri di Bravura, I shall 
 pardon yours. To say the truth, I am no friend to 
 that species of writing, calculated to promote me- 
 chanism all too much, in those at least which I
 
 TO RIES. 265 
 
 know. T have not looked at your's yet, but shall 
 
 inquire for them at , with whom I beg you 
 
 will not communicate without great prudence. 
 Might I not be your agent here for many things ? 
 
 These publishers are certainly acting up to their 
 name by publishivg your works; but you get 
 nothing by such publicity, which is only a reprint. 
 Matters might perhaps be differently managed. 
 I shall certainly send you a few chorusses ; and, if 
 required, produce a few new ones. They are quite 
 my hobby. 
 
 Many thanks for the produce of the Bagatelles. 
 I am quite content with it. Do not give anything 
 to the King of England. Take whatever you can 
 get for the Variations : I shall be satisfied anyhow. 
 But one thing I must stipulate, that I shall posi- 
 tively take no other reward for the dedication to 
 your wife than a kiss to be received by me in 
 London. You sometimes write guineas, whereas 
 I receive but pounds sterling, and I understand 
 there is a difference.* Do not be angry at this, 
 with a. paiivre musicien aulrichie?? ; but indeed 
 mv situation is a difficult one. I am likewise 
 writing a new violin Quartett. Might tiiat too be 
 
 * Beethoven received 25 guineas in a cheque of £2G 5s., while 
 the calculations were made in pounds. — Ries. 
 
 VOL. II. N
 
 266 Beethoven's letters 
 
 offered to the musical or unmusical London Jevvs ? 
 — en V7'ai juif. With the sincerest embrace. 
 Your old friend, 
 
 Beethoven. 
 
 26. 
 Beethoven to Ries. 
 
 Vienna, Sept, 5, 1823. 
 
 My dear good Ries, 
 
 I still continue without news of the Symphony, 
 yet you may depend upon it ... . will soon reach 
 London. Were I not so poor as to be obliged to 
 live by my pen, I should not take anything of the 
 Philharmonic Society. As it is, I must certainly 
 wait until my terms for the Symphony be made 
 payable here. Wishing, however, to prove my 
 confidence and affection for this Society, I have 
 already sent off the new Overture. I leave it to 
 the Society to settle for it at its own rate. My 
 worthy brother (Johann), who keeps his carriage, 
 thought fit to draw upon me too ; and has conse- 
 quently offered this same Overture, unknown to me, 
 to a London publisher, Boosey. Pray tell him, my 
 brother was mistaken with regard to the Overture. 
 He bought it of me to carry on usury with it, as I 
 perceive. — O frater ! As yet I have not seen any- 
 thing of your Symphony dedicated to me. Did I
 
 TO NEATE AND RIES. 267 
 
 not consider this dedication as a kind of challenge, 
 demanding satisfaction on my side^ I should by 
 this time have inscribed some work to you. As it 
 is, I thought I ought by rights to see your work 
 first ; and how I wish I could in any way show 
 you my gratitude ! I am deep in your debt for so 
 many proofs of attachment and active kindness. 
 
 Should my health improve by a proposed course 
 of bathing, I shall embrace your wife in 1824 in 
 London. 
 
 Ever yours, 
 
 Beethoven 
 
 [The following three letters are given as originally 
 written in French, not in Beethoven's own hand, 
 but signed by himself :] — 
 
 27. 
 
 Beethoven a Monsieur C. Neate. 
 
 Vienne, le 15 Janvier, 1825. 
 
 Ce fut avec le plus grand plaisir que je requs 
 
 votre lettre du .... par laquelle vous avez eu la 
 
 bonte de m'avertir que la Societe Philharmonique 
 
 distinguee d'artistes m'invite a venir a Londres. 
 
 n2
 
 268 Beethoven's letters 
 
 Je suis bien content des conditions que me fait la 
 Societe, seulement je desire de lui proposer de 
 m'envoyer, outre les 300 guinees qu'elle me promet, 
 encore 100 guinees pour faire les depenses du 
 voyage ; car il faudra acheter une voiture ; aussi 
 dois-je etre accompagne de quelqu'un. Vous voyez 
 bien que cela est necessaire; d'ailleurs je vous prie 
 de ra'indiquer I'auberge ou je pourrai descendre a 
 Londres. 
 
 Je preridrai un nouveau Quatuor avec moi. 
 Quant au bruit dont vous m'ecrivez, qu'il existe 
 vm exemplaire de la 9^™^ Symphonic a Paris, il 
 n'est point fonde. 11 est vrai que cette Symphonie 
 sera publiee en AUemagne, mais point avant que 
 I'an soit ecoule^ pendant lequel la Societe en 
 jouira. 
 
 Sur ce point il faut encore vous avertir de ne 
 faire que de petites preuves de cette composition, en 
 Quatuor par exemple, car c'est la seule maniere 
 d'etudier bien une belle ceuvre ; les choeurs, avant 
 tout, doivent etre exerces. II y a encore quelques 
 erreurs, dont je vous enverrai le catalogue par la 
 poste prochaine, 
 
 II me semble avoir ete oublie dans la 2^^ partie 
 de la Symphonie, qua la repetition du minor apres 
 le Presto il faut commencer de nouveau du signe ^^
 
 TO NEATE AND RIES. 269 
 
 et continuer sans repetition jusqu'a la Ferma, alors 
 on prend aussitot la Coda. 
 
 Je vous prie de me repondre au plus vite pos- 
 sible, car on demande de moi une grande composi- 
 tion nouvelle, que je ne commenqerai cependant 
 pas, sans avoir votre reponse. 11 faut que j'ecrive 
 toujours, pas pour me faire des richesses, — seule- 
 ment pour pourvoir a mes besoins. 
 
 Or je dois avoir de la certitude sur ce point. — 
 Je serai bien charme de vous voir, et de connoitre 
 la noble nation Anwlaise. 
 
 Je suis, avee la plus haute consideration. 
 Monsieur, 
 
 Votre sincere ami, 
 
 Louis van Beethoven. 
 
 28. 
 Beethoven a Monsieur Neate. 
 
 Vienne, le 19 Mars, 1825. 
 Mon tres cher ami ! 
 
 Je ne pourrai guere venir k Londres durant 
 le printemps, mais qui sait quel accident m'y con- 
 duit peut-etre en automne. J'espere que vous vous 
 trouvez bien dans votre famille, et en bonne sante.
 
 270 Beethoven's letters 
 
 Quant aux Quatuors, dont vous m'ecrivez dans vos 
 lettres, j'en ai acheve le premier, et je suis a pre- 
 sent a composer le second, qui, comme le troisieme, 
 sera achevd dans peu de temps. Vous ni'ofFrez 
 100 guinees pour 3 Quatuors, je trouve cette pro- 
 position bien genereuse. II se demande seulement, 
 s'il m'est permis de publier ces Quatuors apres un 
 an et demie, ou deux ans.* C'est ce qui serait 
 tres avantageux pour mes finances. En ce qui 
 concerne la maniere de simplifier I'envoiement des 
 Quatuors, et de I'argent de votre part, je vous pro- 
 pose de remettre les oeuvres a Messrs. Fries & Co., 
 qui temoigneront a vous meme, ou a quelque 
 banquier de Londres, d'etre possesseurs des Qua- 
 tuors, et qui vous les remettront aussitot apres 
 I'arrivee de I'argent. 
 
 Voici une affaire, par laquelle vous pouvez me 
 prouver votre amitie. Je vous prie seulement de 
 me repondre au plus-tot possible. Je me fie tou- 
 jours a votre amitie pour moi, et vous assure que 
 vous pouvez faire de meme a moi. 
 
 Je suis, avec la plus grande consideration, 
 Votre ami, 
 
 Beethoven. 
 
 * Mr.Neate did not succeed in disposing of these three Quartets 
 (oeuvres posthumes) to a publisher. — Ed.
 
 TO NEATE AND RIES. 271 
 
 29. 
 
 Beethoven a Monsieur Neate. 
 
 Vieiine, le 25 May, 1825. 
 
 Mon ami ! 
 
 Je crois necessaire de vous ecrire encore une 
 fois. Je vols dans la lettre que vous m'avez ecrite 
 il y a deux ans, que I'honoraire des Quatuors est 
 £100 sterling. Je suis content de celte offre, mais 
 il est necessaire de vous avertir, que le 1^' Quatuor 
 est si cherche par les plus celebres artistes de 
 Vienne^ que je Tai accorde a quelques uns d'eux 
 pour leur benefice. Je crois tromper votre amitie 
 en ne vous avertissant point de cette circonstance, 
 parceque vous pouvez aussi en faire usage a Londres. 
 Or si vous me repondez que vous etes content des 
 propositions que je vous ai faites dans ma lettre 
 derniere, je vous enverrai aussitot le l*-""^ Quatuor ; 
 cependant je vous prie d'accelerer votre resolution, 
 puisque les editeurs desirent vivement de le posseder. 
 Cependant vous n'avez point de remettre I'honoraire 
 qu'apres avoir rc<^u I'assurance de ma part, que les 
 2 autres Quatuors sont aclieves. Seulement je vous 
 prie d'ajouter a votre lettre I'assurance de votre 
 contentement en ce qui concerne mes offres. Voila 
 ce que j'ai cru devoir vous dire. Je crois vous avoir
 
 272 Beethoven's letters 
 
 fait une complaisance, et je suis certain que vous 
 ferez le meme envers moi. Conservez votre amitie 
 pour moi. 
 
 Je suis, avee le plus grand estime, 
 Votre ami sincere, 
 
 Louis VAN Beethoven. 
 
 30. 
 Beethoven to Ries at Bonn. 
 
 Vienna, April 9, 1S25. 
 Dear worthy Ries, 
 
 The needful in all haste ! In the score of 
 the Symphony which I sent you (it is the ninth 
 with choruses), there stands, as far as I remember, 
 in the first oboe in the 242nd bar, — 
 
 It should Za 
 
 be thus : AM 
 
 ^ F E D 
 
 %J 
 
 I have looked over the whole of the parts, with 
 the exception of the brass band — that only in part 
 — and I trust they must be tolerably correct. I 
 would willingly have sent you the score,* but I 
 
 * It was suggested that this Symphony should be performed at the 
 musical festival at Aix-la-Chapelle. Beethoven, however, did not 
 send it. The committee had written to him directly, but had re-
 
 TO NEATE AND RIES. 273 
 
 have a concert before me, and the only score I pos- 
 sess is my manuscript. The concert, however, de- 
 pends upon my health ; for I must soon set off to 
 the country, where alone T can prosper at this 
 time. 
 
 You will soon receive the Opferlied, copied a 
 second time ; and I beg you will mark it as cor- 
 rected by myself, that it might not be used to- 
 gether with the one you have already by you. 
 This song gives you an idea of the miserable 
 copyist I have had ever since Schlemmer^s death. 
 There is scarcely a note in which I can trust him. 
 As you have already had all the written parts of 
 the finale of the Symphony, I have now sent you 
 the second choral parts. You can easily have 
 these scored from before the beginning of the 
 chorus ; and at the commencement of the vocal, it 
 will be quite easy to have the instrumental parts 
 jjrefixcd to the second vocal ones : it will require a 
 little reflection. It was impossible to write all this 
 at once ; and, had we hurried such a copyist, there 
 would have been errors upon errors. I have sent 
 
 ceived promises only. At last I wrote, and begged that, knowing 
 him and his scores as well as I did, he would send me the original 
 score, which I should be able to make out. I promised him at the 
 same time (well aware of his constant want of money) another 
 present, which I received for him some time after to the amount 
 of forty louis-d"or8. — Ries. 
 
 n3
 
 274 Beethoven's letters. 
 
 you an Overture in C, | time, not yet published : 
 the printed parts, too, you will receive by the next 
 post. The Kyrie and Gloria (two of the principal 
 pieces of the Messe Solemnelle), in D major, are 
 likewise on their way to you, together with an 
 Italian vocal Duet. You will receive, besides these, 
 a grand March with chorusses, well fitted for grand 
 musical performances.* Another grand, and as yet 
 unknown. Overture might come forth, but I fancy 
 you have enough of these. 
 
 Farewell, in the land of the Rhine, ever dear to 
 me.f Every enjoyment of life attend you and 
 your wife. The most friendly remembrances to 
 your father. 
 
 From your friend, 
 
 Beethoven. 
 
 * Probably belonging to a dramatic piece, " The Ruins of 
 Athens," written for a performance at Pesth. 
 
 t When I left England I went to live at Godesberg, near Bonn, 
 one of the most beautiful parts on the Rhine. I had invited 
 Beethoven to come and see me there ; and had pressed him to 
 live at once with me, and in his native home, for some little time. 
 
 RiES.
 
 275 
 
 No. III. 
 
 Account of a Concert given by Beethoven 
 AT THE Kaernthxerthor Theatre, Vienna.* 
 
 * * * * * 
 
 On the 7th of May, 1824, a grand musical per- 
 formance took place at the Karnthnerthor Theatre. 
 The leaders of the music were Kapellmeister Um- 
 lauf and M. Shuppanzigh, and the great composer 
 himself assisted on the occasion. He took his place 
 at the side of the principal leader, and, with his 
 oricrinal score before him, indicated the different 
 movements and determined the precise manner in 
 which they were to be given; for, unfortunately, 
 the state of his hearing prevented him from doing 
 more. The theatre was crowded to excess, and 
 the sensation caused by the appearance of this 
 great man was of a kind that is more easy to ima- 
 gine than to describe. The arrangement of the 
 pieces performed was as follows : — 1st, Beethoven's 
 Grand Overture in C major; 2nd, Three Grand 
 Hymns, with solo and chorus parts, from his New 
 Mass, never before performed; 3rd, a Grand New 
 Symphony, with a finale, in which are introduced 
 
 * From the Harmonicon, October, 1824.
 
 276 Beethoven's concert 
 
 a solo and chorus part from Schiller's Lied an die 
 Freude (Song of Joy). This also was performed 
 for the first time, and is Beethoven's last composi- 
 tion. We shall offer a few observations on each of 
 these in the order of their performance. 
 
 With respect to the Overtvu'e, it indisputably be- 
 longs to the most finished of his compositions. 
 The introductory u^rtf^anie is throughout of the most 
 simple, noble, and masterly kind, and the rather 
 lengthened Allegro that follows is full of brilliant 
 fancy : it is in the free fugue style, in three parts, 
 each of which is sustained with equal power and 
 effect. It is never monotonous, its form is con- 
 stantly varying without in any manner sacrificing 
 unity of effect ; without the smallest rest point, the 
 interest is constantly kept up ; it flows along in a 
 stream of harmony always pure and limpid ; but 
 it certainly presents an arduous task to the per- 
 former. It is thus that Handel would have written, 
 had he had at his disposal the rich orchestra of our 
 times; audit is only a spirit congenial wirh that 
 of the immortal author of the Messiah that could 
 succeed in treading in the footsteps of this giant of 
 the art. The Three Hymns are principal portions 
 of the New Mass which Beethoven has lately com- 
 posed. The first, which was the Kyrie Eleison, is 
 in D major, a movement full of fire and deep reli-
 
 AT VIENNA. 277 
 
 gious feeling. The Christe that followed is in 
 triple time, and full of happy effects of counterpoint; 
 the return to the first measure of the Kyrie is ma- 
 naged in a masterly manner, and the whole termi- 
 nates in harmonics of a very singular and touching 
 character. But altogether the effect is not so 
 much that of children supplicating a parent, which 
 is the true intent of the words, in the [)lace in 
 which they stand, as the deep and mournful sup- 
 plications of a people humbled in the dust. 
 
 The treatment of the Credo that follows is in the 
 highest degree original and uncommon. Both the 
 principal key, B flat major, as well as the time, 
 change perhaps loo often, so that the ear is scarcely 
 able to comprehend the suddenness of the effects 
 intended to be produced. At the comubstantialein 
 patri, a short but very powerful figure commences ; 
 the incarnatus est is a movement of very pathetic 
 effect, and the tender and touching passage, jwai-A'M* 
 et sepultus eat, with its well placed dissonances in 
 the violin accompaniment, is not to be described. 
 Well imagined and sustained, the strongly figured 
 movement at the entrance of the contra-theme is 
 somewhat quickened, but the first moderato again 
 returns. The Amen opens with a broad and richly 
 ornamented passage ; it swells into splendid effect, 
 and terminates in a long dying fall. If it were
 
 278 Beethoven's concert 
 
 permitted in a church composition to speak of 
 effect in the same manner as in a secular produc- 
 tion, it cannot be denied that this retarding kind of 
 conclusion tends to weaken the powerful impression 
 produced by the preceding bolder results; espe- 
 cially when no reasonable cause can be assigned for 
 such a mode of conclusion, unless it be the deter- 
 mination of a composer to differ from all the rest 
 of the world. Who does not feel himself inspired 
 by those brilliant Fugues with which a Naumann, 
 a Haydn, and a Mozart terminate their composi- 
 tions of this kind, which seem as if on the wings 
 of seraphs to waft the soul towards heaven ? The 
 character of the Agnus Dei, in B minor, is solemn 
 and tender, and the introduction of four French 
 horns tends to heighten the effect in an extraordi- 
 nary degree. The Dona in D major, | time, passes 
 into an Allegretto movement of feeling, and ad- 
 vances in beautiful imitations, till suddenly the 
 passage changes, and the kettle-drums, like distant 
 thunder, intone the deep pacern* A soprano solo 
 introduces the second Agnus Dei in a kind of re- 
 citative, and a chorus, strengthened bj' trumpets, 
 precedes the tremendous Miserere Nobis. The 
 effect of the latter is singular in the extreme, and 
 
 * Most of our readers will concur ■with us in thinking this a 
 most eccentric mode of colouring musically so gentle a word.
 
 AT VIENNA. 279 
 
 when we reflect upon the sentiments intended to be 
 expressed, we scarcely know whether to praise or 
 blame. 
 
 With respect to the new Symphony it may, with- 
 out fear, stand a competition with its eight sister 
 works, by none of which is the fame of its beauty 
 likely to be eclipsed ; it is evidently of the same 
 family, though its characteristic features are dif- 
 ferent — 
 
 facies iion omnibus una 
 Non diversa tamen, qualem debet esse sororum. — Ovid. 
 
 The opening passage is a bold Allegro in D 
 minor, full of rich invention, and of athletic power ; 
 from the first chord till the gradual unfolding of 
 the colossal theme, expectation is constantly kept 
 alive and never disappointed. To give a skeleton 
 of this composition would be scarcely practicable, 
 and, after all, would convey but a very faint idea 
 of the body ; we shall therefore only touch upon 
 some of the more prominent features, among which 
 is a Scherzo movement (D minor) full of playful 
 gaiety, and in which all the instruments seem to 
 contend with each other in the whim and sportive- 
 ness of the passage ; and a brilliant March in the 
 vivid major mode, forms a delightful contrast with 
 the passages by which it is introduced. Whoever 
 has imagined in hearing the Andante of the 7th
 
 280 Beethoven's concert 
 
 Symphony, that nothing could ever equal, not to 
 say surpass it, has but to hear the movement of the 
 same kind in the present composition in order to 
 change his sentiments. In truth, the movement is 
 altogether divine, the interchanges and combina- 
 tions of the motives are surprising, the tasteful 
 conduct of the whole is easy and natural, and in 
 the midst of the rich exuberance of the subject, the 
 simplicity that prevails throughout is truly admir- 
 able. But it is in the Finale that the genius of this 
 great master shines forth most conspicuously. We 
 are here, in an ingenious manner, presented with a 
 return of all the subjects in short and brilliant pas- 
 sages, and which, as in a mirror, reflect the features 
 of the whole. After this a singular kind of reci- 
 tative by the contra-basses introduces a crescendo 
 passage of overwhelming effect, which is answered 
 by a chorus of voices that bursts unexpectedly in, 
 and produces an entirely new and extraordinary 
 result. The passages from Schiller's " Song of 
 Joy" are made admirably expressive of the senti- 
 ments which the poet intended to convey, and are 
 in perfect keeping with the tone and character of 
 the whole of this wonderful composition. Critics 
 have remarked of the Finale, that it requires to be 
 heard frequently in order to be duly appreciated. 
 At the conclusion of the concert Beethoven was
 
 AT VIENNA. 281 
 
 unanimously called forward. He modestly saluted 
 the audience, and retired amidst the loudest ex- 
 pressions of enthusiasm. Yet the feeling of joy 
 was tempered by a universal regret, to see so gifted 
 an individual labouring under an infliction the most 
 cruel that could befal an artist in that profession 
 for which Nature had destined him. We have no 
 doubt but the master will consider this as one of 
 the proudest days in his existence; and it is (o be 
 hoped that the testimony of general feeling which 
 he has witnessed will tend to soothe his spirit, to 
 soften down some of its asperities, and to convince 
 him that he stands upon a pinnacle far above the 
 reach of envy and every malignant passion. 
 
 Both singers and instrumental performers ac- 
 quitted themselves on this interesting occasion in a 
 manner that is deserving of the highest praise. Of 
 the worthy Kapellmeister Umlauf, who undertook 
 the conduct of this great work, and M. Shuppan- 
 zigh, a master of known abilities, who led the band, 
 it is but justice to say that their zeal, knowledge, 
 and talents deservedly obtained them the most con- 
 spicuous place and the merited thanks of their 
 brother artists. The impracticability of devoting 
 sufficient time for the number of rehearsals that 
 were necessary, in order to do justice to music 
 which is at once new and of so lofty a character.
 
 282 Beethoven's concert at Vienna. 
 
 made it impossible to give it with that precision, 
 and those delicate shades of forte and piano, which 
 are required to do them justice. 
 
 The deep and general feeling which this concert, 
 in honour of the great master of the modern art in 
 Germany, excited, together with the disappoint- 
 ment experienced by many who were unable to 
 obtain admission, induced the Director of the The- 
 atre to make an offer to the composer of a certain 
 consideration if he would condescend once more to 
 appear in public, and assist at a repetition of the 
 same music. With this request he complied ; and 
 in addition to the pieces before performed, he 
 offered them a manuscript Terzetto, with Italian 
 words, which was accordingly performed, and con- 
 sidered by the numerous Italian amateurs in Vienna, 
 as a kind of compliment paid by the composer to 
 themselves. The performance went off with still 
 greater eclat tlian on the former occasion, and this 
 new composition was hailed by all with no less 
 enthusiasm than the other works.
 
 283 
 
 No. IV. 
 
 Characteristics of Beethoven, fromWegeler 
 
 AND RiEs's " NOTIZEN." 
 
 When Beethoven's reputation had attained the 
 highest point at Vienna, his dishke to playing in 
 society was so ungovernable that he used com- 
 pletely to lose his temper in consequence ; and 
 would often come to see me in the most melancholy 
 mood, complaining that play he must, although 
 he felt the blood tingling in his fingers. By de- 
 grees I used to draw him into a conversation of a 
 more cheerful tendency, and always succeeded in 
 ultimately pacifying liim. This object attained I 
 used to drop all discourse, sit down to my writing- 
 desk, and thus obUge Beethoven to take the chair 
 next to me, for the purpose of further conversation 
 — that chair being the one used at the piano. The 
 vicinity of the instrument soon led him to strike 
 .some chords at random, whence sprung the most 
 beautiful melodies. Oh ! why did I not more fully 
 understand him ! Wishing to possess a manuscript 
 of his, I more than once put before him on the 
 desk some music-paper, seemingly without inten-
 
 284 CHARACTERISTICS OF BEETHOVEN 
 
 tion ; it was always filled, but when he had done 
 this, he folded it and put it into his pocket, leaving 
 me to laugh at my own miscalculation. He never 
 permitted me to say much, if anything, about his 
 playing on these occasions, and always went away 
 an altered being, ready to come back to me. His 
 antipathy to playing in company, however, remained 
 unshaken, and was frequently the cause of the 
 greatest quarrels between him and his friends and 
 patrons. 
 
 Haydn had been anxious that Beethoven should 
 write on the titles of his early works ''pupil of 
 Haydn;" to this Beethoven objected, saying, that 
 although he had received some instructions from 
 Haydn, yet he had never learnt anything of him. 
 Beethoven during his first stay at Vienna had been 
 Mozart's pupil for a short time, but used to com- 
 plain of this great master never having played to 
 him. Albrechtsberger gave him instructions in 
 counterpoint, and Salieri in dramatic music. I 
 was well acquainted with these three men; they 
 all agreed in their regard for Beethoven, as well as 
 in their opinion of his mode of learning. Each 
 said Beethoven had always been so obstinate and 
 self-willed, that his own hard earned experience 
 often had to teach him those things the study of
 
 FROM WEGELER AND RIES. 285 
 
 which he would not hear of; this was more especially 
 affirmed by Albrechtsberger and Salieri. The dry 
 rules of the former, and the less important ones of 
 the latter on dramatic composition (in the old Ita- 
 lian school), would not excite any interest in Beet- 
 hoven ; we may therefore be allowed to doubt Sey- 
 fried's " incontrovertible evidence" as given in his 
 Studies, that " Beethoven devoted his two years' 
 apprenticeship with Albrechtsberger with unremit- 
 ting perseverance to his theoretical studies." 
 
 Ries says, in his Notizen, page 87, Beethoven 
 had promised the three Sonatas for piano-forte solo 
 (Op. 31), to Nageli of Zurich, whilst his brother 
 Carl (Caspar), who alas ! always would interfere 
 ill his affairs, wanted to sell them to a Leipsic 
 publisher. The brothers used to have frequent 
 disputes on this subject, Beethoven being deter- 
 mined to keep his promise. At the time of send- 
 ing off these Sonatas, Beethoven lived in Heiligen- 
 stadt. He was one day walking with his brother 
 wlicn a new quarrel arose between them on this 
 subject, which actually ended in blows. The next 
 day he gave me the Sonatas to be sent off to Zu- 
 rich without delay; he had at the same time written 
 to his brother, and sent the letter under cover to 
 Stephen Breuning for perusal. I never heard a
 
 286 CHARACTERISTICS OF BEETHOVEN 
 
 lecture given more forcibly and more good-na- 
 turedly than that which Beethoven here preached 
 to his brother, on his conduct of the preceding day. 
 He began by showing it to him in its true and 
 most despicable light — then forgave him every- 
 thing — but warned him that if he valued his own 
 future happiness, he must alter his life and conduct 
 altogether. His letter to Breuning on this occasion 
 was no less beautiful than the above-mentioned. 
 
 As a proof of Beethoven's extraordinary faculties 
 it may here be quoted, that, at the first rehearsal 
 of his piano-forte Concerto in C major, which took 
 place at his house, his piano proved to be half a 
 tone lower than the wind instruments. He imme- 
 diately desired these to tune in B instead of A, 
 whilst he himself played his part in C sharp. 
 
 Ries gives us a curious instance of the manner in 
 which the great master showed his originality. He 
 says it is in the first movement of the Sinfonia eroica 
 that Beethoven has vented his spleen upon the 
 horn. Previous to the motivo returning in the 
 second part, he has indicated it through the horn 
 whilst the two violins hold on the chord of the 
 second. Those who are not initiated into this 
 secret of the score, must ever think the horn-player
 
 FROM WEGELER AND RIES. 
 
 287 
 
 had miscounted, and made a wrong entry. At the 
 first rehearsal of this Symphony, which was a 
 stormy one, and where the horn-player came in 
 correctly, I stood next to Beethoven, and, taking it 
 for granted that the horn-player was wrong, I said 
 " Listen to that stupid fellow — can he not count — 
 it sounds wretched!}' !" I think my ears narrowly 
 escaped being boxed, and Beethoven did not for 
 some time forgive me.* He played the same 
 evening his piano-forte Quintett with wind instru- 
 ments. Ram, the celebrated oboe-player of Mu- 
 nich, played also, and accompanied the Quintett. 
 At one of the pauses in the last Allegro, previously 
 to the subject coming on again, Beethoven of a 
 
 * This passage has jiuzzled many a leader and conductor, and 
 many have altered it thus : — 
 
 Whilst in the score it is written,— 
 
 Viol. 
 
 :b=i?: 
 
 iliziz^bzt 
 
 -Oi-irr 
 
 
 # 
 
 -c->?>^ 
 
 Cor. 
 
 n 
 
 Ed. 
 
 I
 
 288 CHARACTERISTICS OF BEETHOVEN 
 
 sudden began to extemporize, taking the Rondo for 
 his subject, thus amusing himself and his audience 
 for some time. Not so his wind instruments; these 
 lost their temper, particvilarly Mr. Ram, who was 
 much incensed. It was indeed ludicrous to see 
 these gentlemen, who were constantly expecting to 
 recommence, putting up their instruments, and as 
 quickly taking them down again. At length 
 Beethoven was satisfied, and returned to the Rondo, 
 the whole company being in raptures. 
 
 The Funeral March of the grand Sonata, Op. 26, 
 in a flat minor, dedicated to Prince Lichnowsky, 
 owes its existence to the high encomiums which 
 were bestowed by Beethoven's friends on Paer's 
 Funeral March in his Opera of " Achilles."* 
 
 On Steibelt coming from Paris to Vienna, several 
 of Beethoven's friends were afraid lest the great 
 reputation of the former should be injurious to 
 
 * Beethoven being in the box of a much esteemed lady during 
 the performance of " La Molinara," she said, on hearing the well- 
 known " Nel cor piu,' " I had some variations on this subject, 
 but have lost them." Beethoven, the same night, wrote the six 
 Variations on this subject, and the next morning sent them to the 
 
 lady, writing upon them, " Variazioni, &c., perdute da , retro- 
 
 vate da Luigi v. B." They are so easy that the lady might well 
 have played them at first sight. — Wegeler.
 
 FROM WEGELER AND RIES. 289 
 
 Beethoven. Steibelt did not call upon him, and 
 they first met at Count Fries's where Beethoven 
 performed his new Trio in B hiajor for piano, clario- 
 net, and violin (Op. 11) for the first time; the 
 player not having here an opportunity for display 
 Steibelt listened with a kind of condescension, and 
 paid Beethoven some every-day compliment, think- 
 ing himself secure in his triumph. He played a 
 Quintett of his own, and an extempore Fantasia, and 
 produced much effect by the novelty of his tremu- 
 landos. Beethoven was not to be persuaded into a 
 second performance. At a concert, which took 
 place a week later at Coimt Fries's, Steibelt again 
 played a Quintett with much success, and had, 
 moreover, got up for the occasion (as was palpably 
 felt) a brilliant Fantasia, upon the very subject of 
 the variations in Beethoven's Trio : this so incensed 
 his admirer- and himself that he was made to ex- 
 temporize ; he went up to the instrument in his 
 usual, I may say uncouth manner, being half pushed 
 towards it, took en passant the violoncello part of 
 Steibelt's Quintett, laid it (intentionally ?) upside 
 down on the desk, and drummed a subject, begin- 
 ning at the first bars with one finger ; but having 
 been excited and offended at the same time, ho 
 cave us such a performance as to make Steibelt 
 quit the room ore he had done, declaring he would 
 VOL. II. O
 
 290 CHARACTERISTICS OF BEETHOVEN 
 
 never meet Beethoven again^ and indeed making 
 Beethoven's non-appearance a condition to those 
 who desired to have hira. 
 
 Beethoven usually put off to the very last mo- 
 ment such compositions as were to be ready at a 
 stated period; thus he had promised the celebrated 
 horn-player, Ponto, to write a Sonata for piano-forte 
 and French horn (Op. 17), and play it with him at 
 Ponto's concert ; this had been publicly announced, 
 never having been commenced till the day before 
 the concert, and was terminated for the perform- 
 ance. 
 
 The celebrated Sonata in A minor. Op. 47, with 
 violin-concertante, dedicated to Kreuzer, had ori- 
 ginally been written for Bridgetower, an English 
 performer, and much in the same manner, although 
 the first Allegro was finished in good time. Bridge- 
 tower urged him on to set about it, his concert 
 being announced, and he anxious to study his part. 
 I was suddenly called to Beethoven one morning 
 at half-past four, and he said — " Write out rhis 
 violin part of the first Allegro with all haste" (his 
 usual copyist was already employed) : he had but 
 slightly sketched the piano-forte part, and Bridge- 
 tower played that lovely subject with variations in
 
 FROM WEGELER AND RIES. 291 
 
 F major, from Beethoven's own manuscript, at eight 
 in the morning at his concert in the ' Augarten' — 
 there being no time to copy it. The last Allegro 
 I A major, had, on the contrary, been beautifully 
 copied both in the violin and piano-forte part, 
 having originally belonged to the first Sonata, 
 Op. 30, in A major, dedicated to the Emperor 
 Alexander; he deemed it too brilliant for this 
 work, and substituted those variations which we 
 still find in it. 
 
 Beethoven esteemed Mozart and Handel most 
 of all composers, and next to them S. Bach. If 
 ever I found him with music in his hand, or on his 
 desk, it was sure to be that of one of these mighty 
 men. Haydn rarely escaped without a side cut, 
 partly perhaps from a former grudge he bore him, 
 and of which the following may be a cause : — 
 Beethoven's three Trios, Op. 1, were to be first 
 ushered into the world of cognoscenti at one of 
 Prince Lichnowsky's soirees. All those distin- 
 guished in the art had been invited, and Haydn 
 amongst the number ; his judgment being anxiously 
 looked up to. The Trios were played and at once 
 created a great sensation. Haydn, too, expressed 
 himself with much satisfaction to Beetiioven, ad- 
 vising him, however, 7iot to publish the third in C 
 
 o2
 
 292 CHARACTERISTICS OF BEETHOVEN 
 
 minor, whilst he, considering this the host,* was 
 much struck by Haydn's advice, leaving him under 
 the impression of being envied and looked upon 
 rather in jealousy than as a friend. 
 
 If, in playing to him, I made a mistake in pas- 
 sages, or if I happened to strike a wrong note 
 where he required a particularly accentuated one, 
 he seldom said anything ; but if T showed any 
 want of expression, if I omitted a crescetido, &c., 
 or if I did not succeed in rendering the character 
 of the piece, he became incensed : the former, he 
 said, was chance ; but the latter, want of know- 
 ledge, of feeling, or of attention. Indeed, he him- 
 self might often be reproached with the former 
 defect, even when playing in public. 
 
 In the second Symphony in D major, the manu- 
 script score of which Beethoven gave me, something 
 very striking occurs, in the Larghetto quasi An- 
 dante. This Larghetto is so beautiful, so clear and 
 bright, and the harmony so pure, that the hearer 
 could not imagine it had ever been altered. The 
 plan had indeed been the same from the beginning, 
 but^ in the second violin, as well as in many parts of 
 
 * As it proves to be in our days, where it is always the one most 
 admired.
 
 FROM WEGELER AND RIES. 293 
 
 the tenor, there are considerable alterations in the 
 accompaniments, the original thoughts having been 
 so carefully effaced as to render it impossible for 
 me to trace them in spite of all the pains I took 
 to that effect. On questioning Beethoven about it, 
 he drily retorted^ " It is better thus.'"' 
 
 During a walk which I took with Beethoven, I 
 was talking to him of two consecutive fifths which 
 occur in one of his earliest violin-Quartetts in C 
 minor, and which, to my surprise, sound most har- 
 moniously. Beethoven did not know what I meant, 
 and would not beheve they could be fifths. He 
 soon produced the piece of music-paper which he 
 was in the habit of carrvinsf about with him, and I 
 wrote down the passage with its four parts. When 
 I had thus proved myself to be right, he said, 
 " Well, and who forbids them?" Not knowing 
 what to make of this question, I was silent, and he 
 repeated it several times, until I at length replied, 
 in great amazement, " Why, it is one of the very 
 first rules." He, however, still repeated his ques- 
 tion, and I answered, " Marpurg, Kirnberger, 
 Fuchs, &c. &c. — in fact, all theorists." " Well, 
 then, /permit them," was his final answer. 
 
 W'hile Beethoven was playing with me at Count 
 Brown's his three Marches for two performers, Op.
 
 294 CHARACTERISTICS OF BEETHOVEN 
 
 45;, P was carrying on a loud and merry con- 
 versation with a beautiful young lady seated in the 
 doorway near the ante-room. Beethoven made 
 several attempts to silence them, and when these 
 proved fruitless, suddenly and in the midst of play- 
 ing lifted my hands off the keys, jumped up and 
 said, loud enough to be heard by everybody, " I 
 do not play for such swine." All attempts to make 
 him return to the piano proved fruitless, nor did he 
 permit me to play any more. The music ceased 
 accordingly, to the vexation of every person present. 
 
 The following was the cause of his breaking with 
 Himmel. They had met one day, and Beethoven 
 sat down to extemporise at Himmel's request, 
 afterwards desirinor him to do the same ; Himmel 
 Avas weak enough to consent, and, after having 
 played for a considerable time, Beethoven ex- 
 claimed, "Well, when are you going to begin in 
 good earnest ?" Himmel, who had thought wonders 
 of his own performance, started up at these words, 
 and both became rude to each other. Beethoven 
 said to me, " I thought Himmel had just been pre- 
 luding." They made it up afterwards, and Him- 
 mel could forgive but not forget ; they even carried 
 on a correspondence for some little time, but at last 
 Himmel played Beethoven a sad trick. The latter 
 always wanted to have the last news from Berlin,
 
 FROM WEGELER AND RIES. 295 
 
 which somewhat annoyed Himmel, who at length 
 wrote to him — " The latest piece of news is the in- 
 vention of a lantern for the blind." Beethoven 
 carried this piece of intelligence abroad, and all the 
 world wished to know how this might possibly be. 
 He immediately wrote to Himmel, and reproached 
 him with not having sent a full explanation. The 
 answer received, but which I cannot here impart, 
 was such as finally closed their correspondence ; all 
 that was ludicrous in the letter fell to Beethoven's 
 share, and yet he was so imprudent as to show it to 
 several persons. 
 
 One of our country excursions led us on so far 
 that we did not return to Dobling (Beethoven's 
 residence) till eight o'clock. He had been hum- 
 ming to himself the whole way, and keeping up a 
 kind of howling, up and down, without articulating 
 any distinct sounds. Upon asking him what he 
 meant by this, he said " I have just thought of a 
 subject for the last movement of the Sonata (in F 
 minor. Op. 57). On entering the room, he ran up to 
 the piano without taking off his hat. I sat down in a 
 corner, where he soon forgot me, and for the next 
 hour he went on storming over the keys until the 
 Finale, such as we now admire it, was struck out. 
 At length he got up, and, surprised at still finding 
 me there, said, " I cannot give you a lesson to-day, I 
 must work."
 
 296 CHARACTERISTICS OF BEETHOVEN 
 
 Beethoven once laid down a serious plan for a 
 joint and very extensive tour, where I was to have 
 arranged the concerts and played all his Coi^certos 
 and other works. He himself would have con- 
 ducted and extemporised only. The latter was in 
 fact the most extraordinary performance that covdd 
 be witnessed, especially when he was in good spirits, 
 or otherwise excited. I never heard any one come 
 near the height which Beethoven had attained in 
 this branch of execution. The stores of thought 
 which crowded upon him, the caprice by which he 
 was led on, the variety of treatment, and the diffi- 
 culties, whether accidental or called forth by himself, 
 were inexhaustible. 
 
 As we were one day talking of subjects for Fugues 
 at the conclusion of a lesson, I sitting at the piano 
 and he next to me, I began to play the subject of 
 the first Fugue of Graun's " Death of Jesus." 
 Beethoven soon played it after me, first with the 
 left hand, and then bringing in the right, he worked 
 it up for more than half an hour without the slightest 
 interruption. I am still at a loss to think how he 
 could bear his uncomfortable position; but his inspi- 
 ration made Jiim insensible to external impressions. 
 
 On Clementi's coming to Vienna, Beethoven was 
 going to call upon him ; but his brother persuaded 
 him that Clementi ought to pay him the first visit;
 
 FROM WEGELER AND RIES. 297 
 
 this he would probably have done, although much 
 the older of the two, had there been no gossip about 
 it. As it was, dementi had been at Vienna for 
 some time, before he knew Beetlioven even by sight. 
 At one time we used often to dine at the " Swan," 
 at one and ihe same table — Clementi with his pupil 
 Klengel, Beethoven with me : we knew each other, 
 but did not speak or even bow, as by so doing we 
 might either of us have forfeited our lessons ; for my 
 own part, I know this must have been the case, as 
 Beethoven never held a middle course. 
 
 The Sonata in C major (Op. 53), dedicated to 
 his first patron. Count Waldstein, had originally a 
 long Andante. A friend of Beethoven's pronounced 
 this Sonata to be too long, which brought him a 
 volley of abuse in return; upon quietly weighing 
 the matter, however, my master convinced himself 
 of the truth of his assertion. He then published the 
 grand Andante in F major, | time, separately, and 
 afterwards composed the highly interesting intro- 
 duction to the Rondo, such as it now stands. '1 his 
 Andante will ever bring a sad recollection to my 
 mind. When Beethoven played it for the first time 
 to his friend Krunipholz and me, we were so de- 
 lighted with it, that, by dint of begging, we got him 
 to play it over again. On my return home, as I 
 passed Prince Lichnowsky's door, I went in, to tell 
 
 o3
 
 298 CHARACTERISTICS OF BEETHOVEN 
 
 him of Beethoven's beautiful new composition, and 
 was now compelled to play the piece as far as I 
 could remember it. As I went on, I remembered 
 more and more of it, so that the Prince made me 
 try the whole over again : by this means he too 
 learnt part of it, and, thinking to afford Beethoven a 
 surprise, he walked into his room the next day, 
 saying, " I too have composed something which is 
 not bad." Beethoven firmly declared he would not 
 hear it ; but in spite of this the Prince sat down 
 and played the greater part of the Andante, to the 
 amazement of the composer. He was so incensed 
 at this that he vowed he never would play to me 
 again; no, nor even in my presence, and often re- 
 quired of me to leave the room on that account. 
 One day, as a small party were breakfasting with the 
 Prince after the concert at the " Augarten" (at eight 
 in the morning), Beethoven and I being present, it 
 was proposed that we sho\dd drive to Beethoven's 
 house to hear liis new opera " Leonora," which had 
 never been performed. Upon our arrival, Beethoven 
 desired me to leave, and as the earnest solicitations 
 of all present were of no avail, I did go, but with tears 
 in my eyes. The whole party noticed it, and. Prince 
 Lichnowsky following my steps, desired I would re- 
 main in the ante-room, and he would make up the 
 matter, of which he considered himself to have been
 
 FROM WEGELER AND RIES. 299 
 
 the cause. Of this, however, my wounded pride 
 would not hear. I learnt afterwards that Lich- 
 nowsky had reproached Beethoven with great vio- 
 lence, as after all it was only the Prince's love for 
 the great composer's works which brought about 
 the whole occurrence, and consequently Beethoven's 
 wrath too ; but all this tended only to make mat- 
 ters worse, as he now declined playing to the corn- 
 pan \' assembled. 
 
 The third of his Violin-Quartetts in D major 
 (Op. 18) was first composed, and the one in F, now 
 the first, had originally been the third. 
 
 Beethoven had scarcely travelled at all ; he had 
 in his younger years, towards the close of the 
 century, been to Presburgh, Pesth, and once to 
 Berlin. Although his manner was alike to men, 
 whether of the highest or the lowest conditions, yet 
 he was by no means insensible to the civilities of the 
 former. Whilst at Berhn he played several times at 
 court (in the reign of King Frederick William II.), 
 and there composed the two Sonatas with violon- 
 cello obligato (Op. 5) for himself and Duport, first 
 violoncello to the king. Beethoven was presented, 
 on his departure, with a gold snuft-box filled witli 
 louis-d'ors, and he used to relate with much com-
 
 300 CHARACTERISTICS OF BEETHOVEN 
 
 piacency, that it was no common box^ but such as 
 is usually given to ambassadors. 
 
 He used to see a good deal of Himmel, whom 
 he set down as having a pleasing talent, but 
 nothing more; his piauo-forte playing he called 
 elegant and agreeable, but said he must not be 
 compared to Prince Louis Ferdinand. He paid the 
 latter, as he thought, a great compliment, by telling 
 him he did not consider him anything like a royal 
 or princely performer, but a famous piano-forte 
 player. 
 
 During Prince Ferdinand's stay at Vienna, the 
 
 old Countess gave a musical soiree to a few 
 
 friends, — Beethoven amongst the number; but at 
 supper there was a table laid for the Prince and the 
 highest nobility alone, and no cover for Beethoven. 
 He took fire, uttered some coarse expressions, and 
 took his hat and left the house. A ie\y days later 
 Prince Louis gave a dinner-party, to which the old 
 Countess had been invited. On sitting down, 
 places were assigned to the Countess on one, to 
 Beethoven on the other side of the Prince, a distinc- 
 tion which he always talked of with great pleasure. 
 
 My father's letter of introduction to Beethoven
 
 FROM WEGELLR AND RIES. 301 
 
 contained at the same time a credit to a small 
 amount, should I stand in need of it. I never 
 made use of it, but whenever he found my cash run- 
 ning low he sent me money unsolicited, and never 
 would allow me to refund it to him ; he really 
 loved me, and in one of his absent fits gave me a sin- 
 gular proof of it. On my return to Silesia, where I 
 had been as pianist to Prince Lichnowsky, upon 
 Beethoven's recommendation, he was in the act of 
 shaving just as I entered his room, soaped up to his 
 very eyes, to which his excessively strong beard ex- 
 tended. On perceiving me, he started up and em- 
 braced me with so much cordiality, that he effectu- 
 ally transferred every particle of the soapy substance 
 fruii his left cheek to my right. How we did laugh 
 at this ! 
 
 One eveninof, on coming to Baden to continue 
 my lessons, I found Beethoven sitting on the sofa, a 
 young and handsome lady beside him. Afraid of 
 intruding my presence, which I judged might be 
 unwelcome, I was going to withdraw, but Beethoven 
 prevented me, saying, " You can play in the mean 
 time." He and the lady remained seated behind 
 me. I had been playing for some time, when 
 Beethoven suddenly exclaimed, " Tlies, play us an
 
 302 CHARACTERISTICS OF BEETHOVEN 
 
 Amoroso/^ shortly after " a Malinconico ;' then an 
 "Appassionato" &c. From what I heard I could 
 guess that he had in some way given offence to the 
 lady, and was now trying to make up for it by such 
 whimsical conduct. At last he started up, crying, 
 " Why that is my own, every bit !" I had all along 
 been playing extracts from his own works, linked 
 together by short transitions, and thus seemed to 
 have pleased him. The lady soon left, and I found 
 to my utter astonishment that Beethoven did not 
 know who she was. I learnt that she had come in 
 shortly before me to make his acquaintance. We 
 followed her steps to discover her residence, and 
 thence her rank ; we saw her at a distance, the 
 moon shining brightly, but found that she suddenly 
 disappeared. We extended our walk through the 
 lovely valley for the next hour and a half ; on leaving 
 him that night, he said, " I must find out who she 
 is, and you must help." I met her a long time 
 afterwards at Vienna, when I discovered her to be 
 the mistress of some foreign prince. 1 communi- 
 cated the news to Beethoven, but never heard any- 
 thing more concerning her, either from him or any 
 one else. 
 
 I never saw more of Beethoven than whilst I
 
 FROM "WEGELER AND RIES. 303 
 
 lodged at a tailor's, who had three most beautiful 
 daughters, of irreproachable conduct. It is to this 
 he alludes when he thus concludes his letter of July 
 24, 1804: "Do not tailor too much, make my 
 respects to the fairest of the fair, and send me half- 
 a-dozen needles." 
 
 Beethoven took lessons of Krumpholz, on the 
 violin, at Vienna ; and when first I knew him,* we 
 used to play his Sonatas with violin together. This 
 was, however, wretched music, for in his zealous 
 ecstasy he did not perceive that he had missed the 
 right fingering of the passages. 
 
 Beethoven was most awkward and helpless, and 
 his every movement completely void of grace. He 
 seldom laid his hand upon anything without break- 
 ing it : thus he several times emptied the contents 
 of the inkstand into the neighbouring piano. No 
 one piece of furniture was safe with him, and least 
 of all a costly one : he used either to upset, stain, 
 or destroy it. How he ever managed to learn 
 the art of shavingr himself still remains a riddle, 
 leaving the frequent cuts visible in his face quite 
 
 * Consequently after his hearing had been impaired. — Wegeler.
 
 304 CHARACTERISTICS OF BEETHOVEN 
 
 out of the question. He never could learn to 
 dcmce in time. 
 
 Beethoven's Violin Quintett (Op. 29), in C major, 
 had been sold to a pviblisher at Leipzig, but was 
 stolen at Vienna, and suddenly appeared at Artaria 
 & Co.'s. Having been copied in one night, it had 
 innumerable mistakes, and whole bars had been 
 left out. Beethoven behaved on this occasion with 
 a degree of policy of which we in vain look for a 
 second example in his life. He required Artaria 
 to send me fifty printed copies for correction, bvit 
 desired me at the same time to be so lavish of the 
 ink upon the coarse paper, and to draw my pen so 
 tliickly through some of the lines, as to render it 
 impossible for Artaria to sell or use any one of these 
 copies. The corrections applied chiefly to the 
 Scherzo. I kept strictly to Beethoven's request; 
 and Artaria, to avoid a law-suit, was compelled to 
 melt down the plates. 
 
 Beethoven was very forgetful in most things. 
 Count Browne having presented him with a beauti- 
 ful horse, in return for the dedication of the Varia- 
 tions in A major (No. 5, on a Russian air), he rode 
 it a few times, but soon forgot it, and, what is
 
 FROM WEGELER AND HIES. 305 
 
 worse, its food also. His servant, who became 
 aware of this, began to hire out the horse for his 
 own profit; and^ to avoid Beethoven's noticing this, 
 he purposely kept back the bills for provender until 
 at last a tremendously long one reached him. This 
 at once recalled to his memory both his horse and 
 his forgetfulness. 
 
 Beethoven was at times exceedingly passionate. 
 One day when I dined with him at the " Swan," the 
 waiter brought him a wrong dish. Beethoven had 
 no sooner uttered a few words of reproof (to which 
 the other retorted in no very polite manner), than 
 he took the dish, amply filled with the gravy of the 
 stewed beef it contained, and threw it at the waiter's 
 head. Those who know the dexterity of Viennese 
 waiters in carrying at one and the same time num- 
 berless plates full of different viands, will conceive 
 the distress of the poor man, who could not move 
 liis arms, while the gravy trickled down his face. 
 Both he and Beethoven swore and shouted, whilst 
 all the parties assembled roared with laughter. At 
 last Beethoven himself joined the chorus, on looking 
 at the waiter, who was licking in with his tongue 
 the stream of gravy which, much as he fought 
 against it, hindered him from uttering any more
 
 306 CHARACTERISTICS OF BEETHOVEN 
 
 invectives; the evolutions of his tongue causing the 
 most absurd grimaces. The picture was worthy a 
 Hogarth. 
 
 Beethoven scarcely knew what money was, which 
 frequently caused unpleasant scenes ; for, being 
 suspicious by nature, he would fancy himself de- 
 ceived without a cause. Irritable as he was, he 
 used to call the people cheats, an appellation which 
 had often to be atoned for by a douceur to the 
 waiters. At those hotels which he mostly fre- 
 quented they became at last so well acquainted 
 with his fits of absence or eccentricity, that they 
 would let him do anything, and even allow him to 
 leave without having paid his reckoning. 
 
 As to Beethoven's posthumous manuscripts, I 
 have my doubts about them. The " CEuvres 
 Posthumes " will not be acknowledged as such 
 by me, unless I see them attested in his own 
 hand-writing. My reasons are the following: — 
 
 Firstly. Because, during the time of my stay 
 with him, from the year 1800 until November, 
 1805, and on my return to Vienna in 1809, there 
 was no one manuscript in his possession. Beethoven 
 was in arrears with works up to his death.
 
 FROM WEGELER AND RIES. 307 
 
 Secondly. All such trifles and things which he 
 never meant to pviblish, as not considering them 
 worthy of his name, were secretly brought into the 
 world by his brothers. Such were the Songs, pub- 
 lished when he had attained the highest degree of 
 fame, composed years before at Bonn, previous to 
 his departure for Vienna; and in like manner other 
 trifles, written for albums, &c., were secretly taken 
 from him and brought out. 
 
 Thirdly. As most of his letters addressed to me 
 whilst in England speak of pecuniary distress, 
 why should he not have sent me manuscripts, if 
 possessed of any ? 
 
 Aorain. After having; succeeded — and that not 
 without trouble — to get the Philharmonic Society 
 of London to order three Overtures of him, as their 
 exclusive property, he sent me three, not one of 
 which we could use. The public was naturally led 
 to anticipate great things from such a name as 
 Beethoven's : he was expected to produce works of 
 no common order for these concerts, and such alone 
 could tlie Society bring forward. He published 
 the three Overtures three years later, and the So- 
 ciety did not think this worth a prosecution. The 
 Overture to the " Ruins of Athens" was one of the 
 three. I think it unworthy of him.
 
 308 CHARACTERISTICS OF BEETHOVEN. 
 
 Had Beethoven possessed better productions 
 amongst his manuscripts, he would doubtless have 
 sent them to this Society : this his letters clearly 
 prove. His frequent assertion too, that he could 
 live by his pen, makes me doubt the genuineness 
 of the three posthumous piano-forte Quartetts pub- 
 lished by Artaria. I never could convince myself 
 that they were his. 
 
 Beethoven could not possibly have cobbled to- 
 gether from old themes his gigantic work, the 
 Three Sonatas, Op. 2, which he dedicated to 
 Haydn, and which at once excited so great a sen- 
 sation in the musical world, any more than he could 
 in later years have misapplied those themes for 
 flimsy, ill-written Quartetts; for, till his death, his 
 genius was incessantly productive of originality.
 
 309 
 
 No.V. 
 
 Additional Characteristics, Traits and 
 Anecdotes of Beethoven. 
 
 (Extracted from Seyfried's Work, " Beethoven Studien," &c.) 
 
 Beethoven should by no means be offered as a 
 model for directors of orchestras. The performers 
 under him were obliged cautiously to avoid being led 
 astray by their conductor, who thought only of his 
 composition, and constantly laboured to depict the 
 exact expression required by the most varied gesti- 
 ctilations. Thus, when the passage was loud, he 
 often beat time downwards, when his hand should 
 have been up. A diminuendo he was in the habit 
 of making by contracting his person, making him- 
 self smaller and smaller; and when a pianissimo 
 occurred, he seemed to slink, if the word is allow- 
 able, beneath the conductor's desk. As the sounds 
 increased in loudness, so did he gradually rise up, 
 as if out of an abyss ; and when the full force of the 
 united instruments broke upon the ear, raising him- 
 self on tiptoe, he looked of gigantic stature, and, 
 with both his arms floating about in undulating 
 motion, seemed as if he would soar to the clouds. 
 He was all motion, no part ol" him remained in-
 
 310 ADDITIONAL CHARACTERISTICS, TRAITS, 
 
 active, and the entire man could only be compared 
 to a perpetuum mobile. When his deafness in- 
 creased, it was productive of frequent mischief, for 
 the maestro's hand went up when it ought to have 
 descended. He contrived to set himself right again 
 most easily in the piano passages, but of the most 
 powerful fortes he could make nothing. In many 
 cases, however, his eye afforded him assistance, for 
 he watched the movements of the bows, and, thus dis- 
 covering what was going on, soon corrected himself 
 
 Among his favourite dishes was bread soup, 
 made in the manner of pap, in which he indulged 
 every Thursday. To compose this, ten eggs were 
 set before him, which he tried before mixing them 
 with the other ingredients ; and if it imfortunately 
 happened that any of them were musty, a grand 
 scene ensued; the offending cook was summoned to 
 the presence by a tremendous ejaculation. She, 
 however, well knowing what might occur, took care 
 cautiously to stand on the threshold of the door, 
 prepared to make a precipitate retreat; but the 
 moment she made her appearance the attack com- 
 menced, and the broken eggs, like bombs from 
 well directed batteries, flew about her ears, their 
 yellow and white contents covering her with viscous 
 streams.
 
 AND ANECDOTES OF BEETHOVEN. 311 
 
 He never walked in the streets without a note- 
 book, in which he entered whatever occurred to 
 him at the moment. If the conversation accident- 
 ally turned upon this habit, he parodied the words 
 of Joan of Arc, — " Without my colours I must not 
 come," and with undeviating firmness observed 
 the self-imposed law. But his regularity was con- 
 fined to this : the most exquisite confusion reigned 
 in his house ; books and music were scattered in all 
 directions; here the residue of a cold luncheon — 
 there some full, some half-emptied bottles; on 
 the desk the hasty sketch of a new quartett ; in 
 another corner the remains of breakfast; on the 
 piano-forte the scribbled hints for a noble Sym- 
 phony, yet little more than in embryo ; hard by, a 
 proof-sheet, waiting to be returned; letters from 
 friends, and on business, spread all over the floor ; 
 between the windows a goodly Stracchino cheese, 
 and on one side of it ample vestiges of a genuine 
 Verona salai; and, notwithstanding all this confu- 
 sion, he constantly eulogised, with Ciceronian elo- 
 quence, his own neatness and love of order ! When, 
 however, for whole hours, days, and often weeks, 
 something mislaid was looked for, and all search 
 had proved fruitless, then he changed his tone, and 
 bitterly complained that everything was done to 
 annoy him. But the servants knew the natura' 
 goodness of their master ; they suffered him to
 
 312 ADDITIONAL CHARACTERISTICS^ TRAITS, 
 
 rave, and in a few moments it was all forgotten, till 
 a similar occasion renewed the scene. 
 
 He himself often joked about his almost illegible 
 characters, and used to add, by way of excuse, 
 " Life is too short to paint letters or notes, and 
 fairer notes would hardly rescue me from poverty" 
 (punning upon the words Noten and No then). 
 The whole of the morning, from the earliest dawn 
 till dinner-time, was employed in the mechanical 
 work of writing ; the rest of the day was devoted to 
 thought, and the arrangement of his ideas. Scarcely 
 had the last morsel been swallowed, when, if he had 
 no more distant excursion in view, he took his 
 usual walk ; that is to say, he ran in double-quick 
 time, as if hunted by bailiffs, twice round the town. 
 Whether it rained, or snowed, or hailed, or the 
 thermometer stood an inch or two below the 
 freezing point — whether Boreas blew a chilling 
 blast from the Bohemian mountains, or whether 
 the thunder roared and forked lightnings played, 
 — what signified it to the enthusiastic lover of his 
 art, in whose genial mind, perhaps, were budding, 
 at the very moment when the elements were in 
 fiercest conflict, the harmonious feelings of a balmy 
 spring ! 
 
 Beethoven permitted himself but rarely, even
 
 AND ANECDOTES OF BEETHOVEN. 313 
 
 among his intimate friends, to express his opinions 
 of contemporary artists. His own words, however 
 will attest what he thought of the four following 
 masters : — 
 
 " Cherubini is, in my opinion, of all the living com- 
 posers, the most admirable. Moreover, as regards 
 his conception of the Requiem, my ideas are in per- 
 fect accordance with his, and some time or other, if 
 I can but once set about it, I mean to profit by the 
 hints to be found in that work. 
 
 " C. M. Weber began to learn too late ; the art 
 had not time to develop itself, and his only and very 
 perceptible effort was, to attain the reputation of 
 geniality. 
 
 " Mozart's Zauberflbte will ever remain his 
 greatest work, for in this he showed himself the 
 true German composer. In Don Giovanni he still 
 retained the complete Italian cut and style, and 
 moreover the sacred art should never suffer itself 
 to be degraded to the foolery of so scandalous a 
 subject. 
 
 " Handel is the unequalled master of all 
 masters ! Go, turn to him, and learn, with few 
 means, how to produce such effects." 
 
 "What is Rossini?" he was once asked. He 
 immediately wrote in answer, as after he became 
 deaf, he spoke but little, — " A good scene-painter." 
 
 VOL. 11. p
 
 314 ADDITIONAL CHARACTERISTICS, TRAITS, 
 
 During his last illness it was found necessary to 
 draw off the water, and during tlie operation he ob- 
 served, " Rather water from my body than from 
 my pen." 
 
 He received a flattering invitation from a musical 
 society to compose a Cantata, the request being ac- 
 companied by a portion of the sum to be paid for 
 the work. Beethoven accepted it. For a very long 
 time, however, nothinor more was heard of him. 
 Then came, couched in the most delicate terms, a 
 letter to remind him of his engagement, signed, in 
 consequence of the absence of the president of the 
 society, by his locum tenens (Stellvertreter). The 
 reply was — " 1 have not forgotten ; such things 
 must not be hurried ; I shall keep my word. — Beet- 
 hoven, MP.* (Selbstvertreter) se ipsum tenens !" 
 
 Alas ! he could not keep his word. 
 
 If he happened not to be in the humour, it re- 
 quired pressing and reiterated entreaties to get him 
 to the piano-forte. Before he began in earnest, he 
 used sportively to strike the keys with the palm of 
 his hand, draw his finger along the key-board from 
 one end to the other, and play all manner of gam- 
 bols, at which he laughed heartily. 
 
 * Manu propria, with his oavti hand.
 
 AND ANECDOTES OF BEETHOVEN. 315 
 
 During his summer residence at the seat of a 
 Mecsenas, he was on one occasion so rudely pressed 
 to exhibit before the stranger guests, that he became 
 quite enraged, and obstinately refused a comphance 
 which he considered would be an act of servility. 
 A threat that he should be confined a prisoner to 
 the house — uttered, no doubt, without the slightest 
 idea of its being carried into execution — so provoked 
 Beethoven, that, night-time as it was, he ran off, 
 upwards of three miles, to the next town, and 
 thence travelling post, hurried to Vienna. As some 
 satisfaction for the indignity offered him, the bust of 
 his patron became an expiatory sacrifice. It fell, 
 shattered into fragments, from the book-case to the 
 floor. 
 
 During one of my visits to Vienna, my brother, 
 who is a resident of Prague, made a journey ex- 
 pressly to see me; and one morning, finding I had 
 an appointment with Beethoven, was exceedingly 
 anxious to get a sight of a man of such celebrity, 
 whom he had never yet had an opportunity of sf e- 
 ing. It was very natural that I should wish to 
 gratify his curiosity, but I told him, that although 
 he was my own brother, yet I knew the peculiari- 
 ties of the man so well, that nothing could induce 
 me to commit the indiscretion of an introduction. 
 
 p2
 
 316 ADDITIONAL CHARACTERISTICS, TRAITS, 
 
 He was, however, too intent upon his wish to let 
 the opportunity escape without a further endeavour, 
 and said that, surely, I might allow him to call, as 
 if in furtherance of another appointment which we 
 had mutually made. To this I consented, and off 
 we went to Beethoven's, where I left my brother in 
 the passage below to wait the issue of our arrange- 
 ment. I remained with Beethoven about half an 
 hour, when taking out my watch and looking at it, 
 I hastily wrote in his conversation-book that I had 
 a particular appointment at that hour, and that I 
 apprehended my brother was still waiting below to 
 accompany me. Beethoven, who was sitting at the 
 table in his shirt-sleeves, instantly started from his 
 seat, and quitting the room with precipitation, left 
 me in no little embarrassment, wondering what was 
 to follow. In a minute afterwards back he came, 
 dragging in my brother by the arm, and in a hur- 
 ried manner forced him into a seat. "And is it 
 possible," said he, "that you, too, could think me 
 such a bear as not to receive your brother with 
 kindness ? " My brother, who had before received 
 some vacfue insinuations that the renowned com- 
 poser was not at all Hmes in his sober senses, looked 
 as pale as ashes, and only began to regain his self- 
 possession on hearing the question which Beethoven 
 so kindly, yet so reproachfully, asked me; for it
 
 AND ANECDOTES OF BEETHOVEN. 317 
 
 appeared that the latter had rushed precipitately 
 down the stairs, and, without saying a word, seized 
 my brother by the arm and dragged him up stairs 
 as if he had caught hold of a criminal. No soone 
 was my brother fairly seated than he behaved in 
 the most kind and obliging manner towards him, 
 pressing him to take wine and other refreshments 
 This simple but abrupt act clearly shows, that 
 however strange his manners were, he had at heart 
 that kindly and good feeling which ever accompa- 
 nies genius. If we were to take the external man- 
 ner for the internal man, what egregious mistakes 
 should we often make ! — Ed.
 
 318 
 
 No. VI. 
 Beethoven's last moments. 
 
 The Property found after his Death. Correspondence rela- 
 tive to the gift made to Beethoven by the Philharmonic Society 
 of London. 
 
 1. 
 
 Mr. Schindler to Mr. Moscheles. 
 
 Vienna, March 24, 1827. 
 
 My dear good Moscheles, 
 
 You must not be surprised at the difference of 
 date between these two letters. I wished to retain 
 Beethoven's for a few days, because, on the day after 
 that letter was written, i. e. the 19th of March, we 
 had every reason to fear that our great master was 
 about to breathe his last. This event, however, has 
 not yet happened, but by the time you read these 
 lines, my good Moscheles, our friend will be no 
 longer among the living. His dissolution ap- 
 proaches with rapid steps, and indeed it is the una- 
 nimous wish of us all to see him released from his 
 dreadful sufferings. Nothing else remains to be 
 hoped for. One may indeed say that, for the last
 
 MR. SCHINDLER TO MR. MOSCHELES. 319 
 
 eight days, he has been more Uke a dead than 
 living man, being able only now and then to muster 
 sufficient strength to ask a question, or to inquire 
 for what he wanted. His condition appears, to all 
 accounts, to be very similar to that which was lately 
 endured by the Duke of York. He is in an almost 
 constant state of insensibility, or rather of stupor; 
 his head hanging down on his chest, and his eyes 
 staringly fixed for hours upon the same spot. He 
 seldom recognises his most intimate acquaintances, 
 and requires to be told who stands before him. 
 This is dreadful to behold, but only for a few days 
 longer can such a state of things last : since yester- 
 day all the natural functions of the body have 
 ceased ; he will, therefore, please God, soon be 
 released, and we shall no longer have to behold his 
 sufferings. 
 
 Crowds of people flock to his abode, to see him 
 for the last time, though none are admitted, except 
 those who are bold and audacious enough to molest 
 the dying man in his last hours. 
 
 We have been so fortunate as to arrange every- 
 thing respecting his last will, though there is hardly 
 anything left but a few pieces of old fiu-niture and 
 some manuscripts. He had in hand a Quintett for 
 stringed instruments, and the tenth Symphony, of 
 which he makes mention in his letter to you. Of
 
 320 Beethoven's last moments. 
 
 the Quintett there are two movements entirely 
 finished, and it was intended for Diabelli.* 
 
 The day immediately succeeding the receipt of 
 your letter he was in extremely good spirits, and 
 talked much of the plan of the Symphony, which 
 was to have proved so much the more grand, as it 
 was intended for the Philharmonic Society. He 
 has frequently spoken of a journey to England as 
 soon as he should recover, and had calculated how 
 he and myself could live most economically on the 
 tour. But, good God ! his journey will probably 
 lead him much further than to England. When he 
 found himself a little relieved, he amused himself 
 with reading the ancient Greek authors ; also seve- 
 ral of Walter Scott's novels. As soon as your 
 consolatory letter had reached him, all his melan- 
 choly thoughts, and all his dread of future misery 
 at once vanished. He cheerfully said, " Now we 
 may again occasionally treat ourselves with a merry 
 day." His funds had been already nearly ex- 
 hausted, and he had consequently been obliged 
 for some time past to retrench his table, which 
 grieved him more than anything else. He imme- 
 diately desired to have his favourite dish of fish, 
 even if it were only that he might taste of it. The 
 
 * A music-seller at Vienna.
 
 MR. SCHINDLER TO MR. MOSCHELES. 321 
 
 exaltation of his mind is indeed so great, that he 
 at times borders upon the childish. We were also 
 obliged to procure for him a great arm-chair, which 
 cost fifty florins, on which he rests daily at least 
 for half an hour, whilst liis room and bed are ar- 
 ranging. His caprice, or rather obstinacy, are, 
 however, excessive ; just as ever : and this falls par- 
 ticularly hard upon me, since he wis'.ies to have 
 absolutely nobody about him but myself. And 
 what remained for me to do in this, but to give up 
 my teaching and my whole business, in order to 
 devote all my time to him ? Everything he eats 
 or drinks I must taste first, to ascertain whether it 
 might not be injurious for him. However willingly 
 I do all this, yet this state of things lasts too long 
 for a poor devil hke myself. Whatever there re- 
 mains of the thousand florins, we intend to apply 
 in defraying the expenses of a respectable inter- 
 ment, which shall be performed without parade in 
 the churchyard near Dobling,* where he ever de- 
 lighted to roam. 
 
 As early as during your last visit to this city,f 
 I stated to you the condition of Bee thoven's finances, 
 but did not at that time apprehend tliat we wore to 
 
 * A village in a romantic country, about three miles from 
 Vienna. 
 
 t Towards the latter end of 1826. 
 
 p3
 
 322 Beethoven's last moments. 
 
 see this excellent man so soon arrive, and thus 
 miserably too, at his last moment. 
 [Interval of some hours.] 
 I have just left Beethoven. He is certainly 
 dying; before this letter is beyond the walls of the 
 city, the great light will have become extinct for 
 ever. He is still in full possession of his senses. 
 The enclosed lock T have just cut from his head. I 
 hasten to despatch the letter, in order to run to 
 him, God bless you ! 
 
 Your most sincere friend, 
 
 A. ScHINDLER. 
 
 2. 
 
 Mr. Rau to Mr. Moscheles. 
 
 Vienna, March ■28th, 1827. 
 
 Dear Friend, 
 
 Beethoven is no more ; he departed this life, 
 in a most painful struggle and with dreadful suiFer- 
 ings, on the 26th instant, between five and six o'clock 
 r.M., after having been insensible for the last 
 twenty-four hours. 
 
 And now as to the state of his affairs. My last 
 letter to you spoke of nothing but the extreme want 
 and poverty in which he was, according to his own 
 statements, and yet, when an inventory of his effects 
 was taken, in my presence, we found, in an old, half-
 
 MR. RAU TO MR. MOSCHELES. 323 
 
 mouldy box, no less than seven bank-shares. Whe- 
 ther Beethoven had hidden these intentionally 
 (for he was naturally mistrustful, and hoped for a 
 speedy recovery), or whether their possession had 
 escaped his own memory, is a problem which I do 
 not venture to solve. 
 
 The sum of one thousand florins, as sent by the 
 Philharmonic Society, was found untouched. I 
 laid claim to it in conformity with your instructions, 
 but was obliged to deposit it with the magistrates 
 until further notice from the Society as to its fin"ul 
 disposal. I would not consent to their defraying 
 the burial expenses out of this money without the 
 Society's authorization to that effect. Should you 
 have it in your power to dispose of any part of the 
 money, pray let it be done in favour of the two old 
 servants who have attended the patient with the 
 utmost care and devotedness, and who — poor faith- 
 ful creatures ! — have been entirely forgotten in the 
 will, Beethoven's nephew being named his sole 
 lieir.* As to the present which Beethoven intended 
 sending to the Pliilharmonic Society, you will hear 
 
 * III answer to tbe above, I inlbrtned Mr. Rau, in the iiaine of 
 the Philharmonic Society, that the monej- liavinjj been sent for the 
 express purpose, and on condition that Beethoven himself should 
 make use of it, the Society would, now that the event had taken 
 [dace before the end in view could be achieved, expect the money 
 to be returned. — Ed.
 
 324 MR. SCHINDLER TO MR. MOSCIIELES. 
 
 of it in due time from Mr. Schindler. Let me 
 know soon and circumstantially what steps I am to 
 take, and you may rely upon my conscientiousness 
 in fulfilling your wishes. Beethoven will be buried 
 on the 29th, and an invitation to attend the funeral 
 has been sent to all professors of the different chapels 
 and theatres. The body will be borne by twenty 
 composers, and as many more will be torch-bear- 
 ers; Grillparzer has written a most affecting ad- 
 dress to be spoken by Anschiitz at the grave ; in- 
 deed, everything which could be done to render the 
 solemnity worthy of the deceased seems to be in 
 preparation. * # * * 
 
 ****** 
 • » » 
 
 Your friend, 
 
 Rau. 
 
 3. 
 
 Extract of a Letter from 
 Mr. Schindler to Mr. Moscheles. 
 
 Vienna, September 14th, 1827. 
 
 My dear Friend, 
 
 I avail myself of the departure for London of 
 Mr. Levisey, the English courier, to write, and also 
 intrust to his care a memorial of our friend Beet-
 
 MR. SCHINDLER TO MR. MOSCHELES, 325 
 
 hoven, since in your last you wished for a manu- 
 script of some well-known composition of the great 
 master : well^ here is the end of the Scherzo of the 
 last Symphony, and along with it one of those 
 memorable sketch-books which Beethoven used 
 mostly to fill in the open air, and afterwards to 
 write his scores from them at home ; I was so for- 
 tunate as to rescue several of them, and to me they 
 are of the deepest interest, since they are scarcely 
 intelligible to the uninitiated. I must tell you that 
 the one I send contains sketches of one of his last 
 Quartetts ; and should you ever hear that work, you 
 will no doubt recognise some of the passages, written 
 down at full length. I believe I cannot better prove 
 you my friendship than by sending you this relic, 
 the first and only one I shall ever part with. Mr. 
 L r informs me he has already sent you Beet- 
 hoven's portrait; I trust it is that Hthograph in 
 which he is represented sitting and writing, as all 
 others are bad ; on the sheet of paper before him 
 stands Missa solcjnnis. I meant to send you all 
 this together through Mr. Clementi, whose acquaint- 
 ance I made at Baden, but he left before I was 
 aware of it. * * * * 
 
 • » * 
 
 Most sincerely, your friend, 
 
 A. SCHINDLER.
 
 326 MR. RAU TO MR. MOSCHELES. 
 
 Mr. Rau to Mr. Moscheles. 
 
 Vienna, February 15, 1828. 
 
 Dear Friend, 
 
 I send you enclosed a letter from the guardian 
 of Beethoven's nephew, who is named his sole heir, 
 by which you will see that matters are drawing to a 
 close. I was requested, officially, to make a depo- 
 sition respecting the thousand florins which the 
 Philharmonic Society of London had given to Beet- 
 hoven, but not having heard from you to that effect, 
 and not wishing to take any responsibility upon 
 myself, I requested a delay sufficient to allow of 
 my writing and receiving your answer. The guar- 
 dian's letter will at once show you how matters 
 stand.* And now between ourselves. If you could 
 induce the directors to give up the thousand florins 
 
 * The above-mentioned enclosure from tlie guardian (Mr. 
 Hotscliilar, imperial notary) urges still more forcibly all that 
 Mr. Rau hints confidentially, with the request that I would lay 
 before the Philharmonic Society the case of young Beethoven 
 (then under age), and earnestly solicit that body not to reclaim 
 the one thousand florins, but, in honour of the great deceased, 
 allow the small patrimony, which he spared no sacrifice in securing 
 for his nephew, to reinain untouched. I complied with Mr. 
 Hotschilar"s request, and the Society gave its tacit consent by re- 
 linquishing all further proceedings : thus doing homage to the 
 great man even in death. — Ed.
 
 MR. RAU TO MR. MOSCHELES. 327 
 
 it would save much trouble, and perhaps a lawsuit. 
 Even Dr. Eltz and Baron Eskeles think it would 
 be most difficult to identify the thousand florins 
 found in Beethoven's possession at his death with 
 those sent by the Society, the more so as Hofrath 
 Breuning, who had been appointed to take the in- 
 ventory, has died since. Should the money, how- 
 ever, contrary to all expectations, be required back 
 again, it will be necessary for the Philharmonic So- 
 ciety to send Dr. Eltz a legal writ, empowering him 
 to proceed for them, and at their expense : this 
 might indeed eat up the whole sum. Pray write 
 soon and most explicitly. * * * 
 
 * * * 
 
 Your friend, 
 
 Rau.
 
 328 
 
 No. VII. 
 Funeral Honours to Beethoven. 
 
 The 29th of March, 1827, was fixed upon for the 
 funeral of the lamented Beethoven. The following 
 fac-simile of the card (on the opposite page) rela- 
 tive to the funeral may not be uninteresting to the 
 reader. 
 
 Translation of the Card. 
 " INVITATION 
 
 TO 
 
 LUDWIG VAN BEETHOVEN'S 
 
 FUNERAL, 
 
 Which will take place on the 29th of March, at three o'clock in 
 the afternoon. 
 
 The company will assemble at the lodgings of the deceased, in the 
 
 Schwarz-spanier House, No. 200, on the Glacis, before the 
 
 Scotch Gate. 
 
 The procession will thence go to Trinity Church, at the 
 Fathers' Minorites in Alser Street. 
 
 The musical world sustained the irreparable loss of this celebrated 
 
 composer about six o'clock in the evening of the 
 
 26th of March, 1827. 
 
 Beethoven died of dropsy, in the 56th year of his age, after 
 receiving the Holy Sacraments. 
 
 The day of the exequies will be made known hereafter by 
 
 L. VAN Beethoven's 
 
 Admirers and Friends.''
 
 330 FUNERAL HONOURS TO BEETHOVEN. 
 
 This card having been largely distributed, all the 
 necessary arrangements for the funeral were made 
 with the utmost zeal and promptitude by Mr. Has- 
 linger, the music publisher, and Messrs. Schindler 
 and Hart, friends of the deceased. The morning 
 was fine; and at an early hour crowds of people 
 began to assemble on the Glacis of Alservorstadt, 
 the quarter of the town in which Beethoven re- 
 sided. Towards the middle of the day, the num- 
 bers had increased to upwards of twenty thousand 
 persons of all classes ; and so great was the pressure 
 round the residence of the deceased, that it was 
 found necessary to close the gates of the court-yard, 
 where, under an awning, stood the coffin raised 
 upon a bier, and surrounded by mourners. At half- 
 past four the procession began to move, the way 
 having been cleared by a body of the military. 
 Eight principal singers of the Opera-house — Eich- 
 berger, Schuster, Cramolini, A. Miiller, Hoffmann, 
 Rupprecht, Borschitzky, and A. Wranitzky — had 
 offered to carry the coffin on their shoulders. After 
 the priest had pronounced some prayers, the singers 
 performed a highly impressive Funeral Chant by 
 B. A. Weber, and the whole procession moved for- 
 ward in the foUowinor order: — 
 
 1. The cross-bearer ; 2. Four trombone-players 
 — the brothers Bock, Waidl, and Tuschky ; 3. The
 
 I 
 
 FUNERAL HONOURS TO BEETHOVEN. 331 
 
 master of the choir, M. Assraayer; and, under his 
 direction, 4, A choir of singers — M. Tietze, Schnit- 
 zer, Gross, Sikora, Friihwald, Geissler, Rathmeyer, 
 Kokrement, Fuchs, Nejebse, Ziegler, Perschl, 
 Leidl, Weinkopf, PfeifFer, and Seipelt, which, 
 alternately with the trombone quartett, performed 
 the Miserere. This walking orchestra was imme- 
 diately followed by, 5. The high priest ; 6. The 
 coffin, borne by the above-mentioned opera-singers, 
 and attended by the chapel-masters — Eybler, Hum- 
 mel, Seyfried, and Kreutzer, on the right, and 
 Weigl, Gyrowetz, Gansbacher, and Wiirfel, upon 
 the left, as pall-bearers. On both sides, from the 
 beginning of the procession to the coffin, were the 
 torch-bearers, thirty-six in number, consisting of 
 poets, authors, composers, and musicians, among 
 whom were M. Grillparzer, Anschiitz, Bernard, 
 Castelli, Mayseder, C. Czerny, J. Bohm, Linke, 
 Hildebrand, Schuppanzigh, Holz, Katter, Krall, 
 Baron Lannoy, J. Merk, F. Schubert, Riotte, Scho- 
 berlechner, Steiner, Haslinger, Sig. Lablache, Da- 
 vid, Radichi, Mechetti, Meric, Pacini, Meier, 
 Schick, Schmidl, Streicher, Weidman, Wolfmeyer, 
 C. Graf, Raimund, Piringer, Griinbaum, &c. ; the 
 whole in full mourning, with white roses and 
 bunches of lilies fastened to the crape on their arms. 
 Next followed Beethoven's brother, and M. von
 
 332 FUNERAL HONOURS TO BEETHOVEN. 
 
 Breuning, (one of the earliest friends of the deceased, 
 and the executor of his last will,) the pupils of the 
 Conservatorio, and the scholars of Kapellmeister 
 Drechsler, (the thorough-bass teacher of St. Ann's,) 
 all deeply lamenting the loss which the musical 
 world had sustained. 
 
 As the procession approached the church, the 
 Miserere* was entoned to an original melody of the 
 deceased, with an accompaniment of four trom- 
 bones. The history of this striking composition is 
 as follows : — When Beethoven was, in the autumn 
 of 1812, visiting his brother, at the time an apothe- 
 cary in Linz, he was requested by M. Glogll, Ka- 
 pellmeister of the cathedral, to compose some 
 movement of a solemn kind for the approaching 
 festival of All Souls. Beethoven willingly under- 
 took the task, and wrote a piece, entitled Equale 
 a quatro Tromboni, remarkable for the originality 
 of the harmonies, and its faithful imitation of the 
 genuine antique style. | 
 
 On the morning of the 26th of xMarch, 1827, 
 when all hope of Beethoven's recovery had been 
 given over, Mr. Haslinger repaired with it to Ka- 
 pellmeister Seyfried, with a request that he would 
 
 * Given in the following pages. — Ed. 
 
 f The original MS. of this curious production is in the possession 
 of Mr. Haslinger, and prized as a relic of no common kind. — Ed.
 
 FUNERAL HONOURS TO BEETHOVEN. 333 
 
 adapt the words of the Miserere to this Equate, that 
 the body of the prince of musicians might be ac- 
 companied to its everlasting rest by his own crea- 
 tions. M. Seyfried, in pursuance of this idea, 
 undertook the work, which was finished the night 
 following Beethoven's death, with infinite judo-ment 
 and good taste. The movements were arranged for 
 four voices (two tenors and two basses) and four 
 trombones. 
 
 On reaching the church, the body was placed on 
 a bier at the foot of the high altar, when, after the 
 usual prayers, was sung the solemn anthem Libera 
 me Domine, de morte etcrnd, composed by Kapell- 
 meister von Sey fried, in the genuine ecclesiastical 
 style. On quitting the church, the coffin was placed 
 in a hearse drawn by four horses, which proceeded 
 towards the burial-ground at Wahring, followed by 
 a line of more than two hundred carriages. On 
 reaching the gates of the cemetery, the following 
 poem, from the pen of Grillparzer, was recited by 
 Anschiitz, the tragedian, in a very feeling manner : — 
 
 'Tis done I A master-spirit of the age 
 
 Has pass'd away to his eternal rest : 
 Henceforth his name belongs to history's page, 
 
 Enroll'd with men the noblest and the best. 
 Yet, though his name does to all time belong, 
 
 Ye lately heard and saw the wond'rous man, 
 Ye heard his living voice, his living song, 
 
 And to receive his dying accents ran.
 
 334 FUNERAL HONOURS TO BEETHOVEN. 
 
 Then deep in mem'ry treasure up bis form : 
 
 That brow, though stern, with sweetest fancies fraught, 
 That eye with inspiration kindling warm, 
 
 That bosom labouring with the force of thought. 
 And ye, to whom it was not given to view 
 
 His living lineaments with wond'ring eye. 
 May in his tones behold him pictured true, 
 
 In breathing colours that can never die. 
 Yes : he could paint, in tones of magic force, 
 
 The moody passions of the varying soul — 
 Now winding round the heart with plaj^ul course, 
 
 Now storming all the breast with wild control. 
 Forthdrawing from his unexhausted store, 
 
 'Twas his to bid the burden"d heart o'erflow : 
 Infusing joys it never knew before, 
 
 And melting it with soft luxurious woe ! 
 We came his funeral rite to celebrate, 
 
 Obedient to fond love and duty's call ; 
 But on this moment such proud feelings wait. 
 
 It seems a joyous birthday festival* 
 He liveth ! It is wrong to say he 's dead : — 
 
 The sun, though sinking in the fading west. 
 Again shall issue from his morning bed, 
 
 Like a young giant vigorous from his rest. 
 He lives ! for that is truly living, when 
 
 Our fame is a bequest from mind to mind ; 
 His life is in the breathing hearts of men, 
 
 Transmitted to the latest of his kind. 
 
 Baron von Schlechta and M. Castelli read short 
 but eloquent poems to the sorrowing multitude, 
 and, before the grave was closed, M. Haslino-er 
 put into the hands of M. Hummel three wreaths 
 of laurel, which were dropped upon the coffin. 
 The mourners waited till the earth was smoothed
 
 FUNERAL HONOURS TO BEETHOVEN. 335 
 
 over the grave. All the visitants in turn took a 
 last farewell of the mortal remains of a great 
 genius, and returned home in silence, the shades 
 of evening having by this time gathered around. 
 
 On the 3rd of April, 1827, a solemn tribute was 
 paid to the memory of Beethoven at the imperial 
 church of St. Augustin by the performance of Mo- 
 zart's Requiem, in which the great singer Lablache 
 sung the bass part, in a manner that produced a 
 deep impression and shows him to be a profound 
 artist : the whole terminated with the solemn 
 Miserere and Libera of Kapellmeister von Sey- 
 fried. On the 5th of April, 1827, was performed, 
 in the church of St. Charles, the whole of Cheru- 
 bini's celebrated Requiem, admirably executed un- 
 der the direction of Kapellmeister Hummel. A 
 musical performance also took place, by way of 
 opening a subscription for a monument to Beet- 
 hoven. It commenced with the celebrated Pastoral 
 Symphony of the lamented master, which was fol- 
 lowed by a Kyrie from his second Mass in D. 
 From the Abbe Vogler's celebrated Missa pro de- 
 functis, were given the Dies iree, the SancUis, and 
 Benediclus. The whole closed with Catel's Over- 
 ture to Semiramis. The selection was admirably 
 performed, and the object proposed adequately 
 fulfilled.
 
 336 FUNERAL HONOURS TO BEETHOVEN. 
 
 LATIN EPITAPHS 
 
 BEETHOVEN'S TOMB. 
 
 1. 
 LUDOVICO . VAN . BEETHOVEN. 
 
 Cujus. 
 
 Ad . Triste . Mortis . Nuncium. 
 
 Omnes . Flevere . Gentes. 
 
 Plaudente. 
 
 Coelitum . Choro. 
 
 In tumulum Ludovici van Beethoven. 
 
 Fato mortalis ; vita bonus ; arte perennis, 
 
 MoRTE suutn MORiENS cximit ipse decus.
 
 337 
 
 MISEKERE, 
 
 Performed at Beethoven's Funeral, at Vienna, March 29, 1827. 
 Andante. 
 
 Tenore 
 Irao. 
 
 Fenore 
 2do. 
 
 Basso 
 Imo- 
 
 Basso 
 2do. 
 
 
 1 H- 
 
 :g=Eizfc 
 
 -^- 
 
 Mi - se - re - re me 
 
 P 
 
 M^g^^feE^g 
 
 Mi - se-re-re me - - i, 
 
 »£EE?«; 
 
 o 
 
 
 Mi - se-re-re me 
 
 1, mi-se- 
 
 P 
 
 
 '^» 
 
 or 
 
 o_ 
 
 Mi - se-re-re me 
 
 & 
 
 3 e> 
 
 :a: 
 
 Andante. 
 
 P 
 
 -a^i'piJS /' 
 
 ^^5^ 
 
 ^^ 
 
 -^- 
 
 VOL. II
 
 338 
 
 MISERERE. 
 
 / 
 
 \ 
 
 Ui^ 
 
 
 ^-» 
 
 -^ 
 
 
 fc 
 
 mi-se - re - re me - i De - us 
 
 f 
 
 f 
 
 r^^' 
 
 fcj^iibp^s 
 
 t:t: 
 
 ftzriztz 
 
 -e3- 
 
 ?.? 
 
 
 mi-se - re - re me - i De 
 
 ^ife 
 
 --t 
 
 — 1-^- 
 
 =±-4 
 
 / 
 
 
 tB 
 
 / 
 
 re - re me - i De - us mi - se - re - re 
 
 iE^E±g£tEa 
 
 -»-#-»-© 
 
 .r» iB_ 
 
 mi-se - re - re me - i De - us 
 
 Sf 
 
 !ga=E 
 
 
 ttB 
 
 
 z1=z:p: 
 
 
 
 tz 
 
 -•h 
 
 :p_. 
 
 Zip: 
 
 /-f 
 
 tit
 
 MISERERE. 
 
 339 
 
 +\- 
 
 i^:^tlP=p: 
 
 \^^\~^^ 
 
 ^_, Q. 
 
 zr: 
 
 I 
 
 p 
 
 - re - re me - i 
 
 De 
 
 us mi - se - re - re 
 
 ^rfe 
 
 P 
 
 -h-h- 
 
 _u_A 
 
 re - re me - i De 
 
 us mi - se - re - re 
 
 ^d2 
 
 "o 
 
 — C^- 
 
 ibE^ 
 
 ti^- 
 
 p 
 
 =± 
 
 ^^ 
 
 11: 
 
 
 wntiszm 
 
 me - i De 
 
 
 J L 
 
 ^^ 
 
 mi - se - re - re 
 
 re - re me - i De 
 
 us mi -se- re -re 
 
 m 
 
 ^ 
 
 !,& -S t^c:^ 
 
 IC^I 
 
 C5" 
 
 
 3¥f4: 
 
 e>' €3 
 
 '^ I- I 'I 
 
 p 
 
 
 o 
 
 ^^- 
 
 OJ- 
 
 #^- 
 
 -^- 
 
 -e:> 
 
 q2
 
 340 
 
 MISERERE. 
 
 \ 
 
 ^^-^f^^ — -^ — i-^^ 
 
 /. . 
 
 t 
 
 Eztzt-E: 
 
 zt 
 
 se-cun-duin 
 
 !4tbi| 
 
 /: 
 
 if^— -: 
 
 -^- 
 
 me - 1 
 
 :tzj:: 
 
 cun - diim 
 
 =^M 
 
 ^ 
 
 C3_ 
 
 
 irfzvzir 
 
 --t 
 
 me - 1 se-cun 
 
 dum 
 
 / 
 
 Si^^l 
 
 -^- 
 
 :1=: 
 
 ;bz=t: 
 
 
 -C^ 
 
 |8t- 
 
 — ^h 
 
 — I— ^-•- -rt-»t::-»-'I*^f 
 
 ±ZtZ 
 
 ffi 
 
 -£3 
 
 / 
 
 
 ^' -r "*^ 
 
 :^- 
 
 / 
 
 ■^ 
 
 "O
 
 MISERERE. 
 
 341 
 
 UH 
 
 rh— "^' ' h i 
 
 =#=p=:fzfrcb^=zzp 
 
 -I 1- — r= — I 1 
 
 ±iit=r4:z£EEz 
 
 :q=^ 
 
 -^- 
 
 mag 
 
 nam mi - se - ri • cor - di - am 
 
 ^^ilH-^p 1 — \- 
 
 ^^-|+b-fc 1 rti^ 
 
 =:t=:t| 
 
 ~a_iz«: 
 
 SSb 
 
 C£ )^— — *-ji^ H--| •— #- 
 
 nag - - - nam mi - se - ri - cor - di - am 
 
 -k 
 
 4: 
 
 :P-" 
 
 :±kh^ 
 
 te^3 
 
 mag - nam mi - se - ri - cor - di - am 
 
 
 3E 
 
 
 -^-=- 
 
 Icz>" 
 
 cundam magnam mi - se - ri - cor - di - am 
 
 »r|2=^3«l:| 
 
 -Pll 
 
 a-:^^t-?i?.E?13 
 
 r-r-l-:,:lr-» 
 
 qL 
 
 
 -T-b»— ^— j 
 
 
 ZC5I 
 
 -]- 
 
 -1— r-r- 
 
 -bh3& 
 
 c^- 
 
 ESEE
 
 342 
 
 MISERERE. 
 
 «: 
 
 P /u> 
 
 -^ r^ — l?c^-rB^-— — *- 
 
 :1: 
 
 :1: 
 
 C3_ 
 
 mi - - se - - ri - cor - di - am 
 
 P 
 
 f 
 
 iri:b:r-=: ^: 
 
 c^ c^- 
 
 =^=z=1d 
 
 b^iirzp: 
 
 :1=t 
 
 -o- 
 
 mi - - se - - ri - cor - di - am 
 
 P 
 
 /: 
 
 Bf-b e>- 
 
 -^ ^- 
 
 =:1: 
 
 -Ql- 
 
 ::1=t 
 
 -^ — 
 
 mi - - se - - ri - cor - di - am 
 
 P 
 
 /: 
 
 ;i^5 
 
 J 
 
 ggbT^- 
 
 cst- 
 
 =l=::r:t 
 
 -^ ^- 
 
 — o-~ 
 
 mi - - se - - ri - cor - di - am 
 
 a"EE=EEE3= 
 
 u 
 
 
 -^^-flRt 
 
 — Cr^- 
 
 g.«--g<=^-qgr-Jl2^cy 
 
 ie: 
 
 
 i 
 
 / -'^ /- 
 
 o- 
 
 3f-|7 - — j- 
 
 — H — g^ 
 
 
 -^- 
 
 'O' 
 
 -^-
 
 MISERERE. 
 
 343 
 
 i-M-)-! 
 
 p. 
 
 -412=5: 
 
 te- 
 
 -Q|- 
 
 
 mi - se - ri - cor - di-am tu 
 
 P 
 
 tfc^: 
 
 -iE^>-\-<=^r^^- 
 
 :a 
 
 F^S 
 
 -Oi-©-0 
 
 -ij^: 
 
 mi - se - ri - cor -di-am tu 
 
 P 
 
 — ^- |; 4 
 
 .C3; C2_ 
 
 — H 1- 
 
 
 <:^_ 
 
 -C> 
 
 mi - se - ri - cor - di - am tu 
 
 P 
 
 
 t 
 
 -O Q- 
 
 =1 
 
 il-_Si 
 
 _ <z> 
 
 mi - se - ri - cor - di-am tu 
 
 
 
 
 1 
 
 C5: 
 
 -^r- ^r 
 
 1-^ 
 
 
 o 
 
 -e»-
 
 344 
 
 MISERERE. 
 
 m^ 
 
 -fe 
 
 m^EE^^ 
 
 f 
 
 "P=*: 
 
 -•— •- 
 
 s: 
 
 Tz 
 
 mi - se - re - re me - i De- 
 
 ^-^l-i-fe- 
 
 / 
 
 i3c:, 
 
 -I h 
 
 -I 1- 
 
 -m—m- 
 
 ^m^- 
 
 -e^ 
 
 mi - se - re • re me - i De- 
 
 / 
 
 Eai^l^ 
 
 -^ — ^- 
 
 —^ — 6^- 
 
 —czs. — n — I- 
 
 -^ — =J — ^- 
 
 Q^=V 
 
 z]=5 
 
 Q- 
 
 mi - se - re - re me - - i De - 
 
 / 
 
 iE=3 
 
 :i 
 
 He 
 
 ^SeSeS 
 
 o 
 
 mi -se - re - re me - i De - 
 
 m 
 
 ::]: 
 
 
 IQi 
 
 ^3 
 
 J . • bc^- ggc :§f ig; 
 
 as 
 
 Iz^e: 
 
 ^J 
 
 / 
 
 ^ 
 
 I 
 
 ^ -J-- 
 
 P 
 
 -^ — ^- 
 
 -^j»- 
 
 -hdr-^- 
 
 O"
 
 MISERERE. 
 
 345 
 
 
 / 
 
 
 _E cz>) 0| . 
 
 -^- 
 
 ^_^. 
 
 -^ — r 
 
 :^=:|=: 
 
 ■A- 
 
 us, mi - se - re • re me - i se - cuu - dum 
 
 ^M 
 
 f . 
 
 ^ISi 
 
 ;---i.t. 
 
 o o - 
 
 H 1- 
 
 i^zaziii 
 
 -1 r 
 
 H-l \~ 
 
 aiHEHS 
 
 s 
 
 mi • se - re - re me - i se- 
 
 -]— --JiS-Q-M— [ 
 
 mi - se - re - re 
 
 :kib: 
 
 \^ 
 
 fe?^^^^ 
 
 — — 1— H i-^j — i-^- 
 
 lo Qi: 
 
 EiS^: 
 
 / 
 
 '/ . 
 
 — H ^-^ 
 
 f 
 
 'C^ 
 
 >Tf 
 
 -ci 
 
 q3
 
 346 
 
 MISERERE. 
 
 
 h—^- 
 
 ^\ 
 
 -^— 
 
 o 
 
 p 
 
 n-^-^ 
 
 -^ — i 
 
 tztz 
 
 mag 
 
 « 
 
 c^. 
 
 -^- 
 
 nam mi - se - li - cor - di - am 
 
 -^- 
 
 V 
 
 W-W-0^ 
 
 -l^^^. 
 
 
 :t=±=t 
 
 mi - se - ri - cor - di - am 
 
 Qizk 
 
 o 
 
 m 
 
 -^- 
 
 P 
 
 -1 — I — \- 
 
 I — I — I — 
 
 -f-t-i-- 
 
 :^=»=»: 
 
 lirtt: 
 
 ffiaiS:— 3 
 
 r^js^rt 
 
 mi - se - ri - cor - di - am 
 
 P 
 
 "C3" 
 
 -•— •- 
 
 icg^p-^l 
 
 ±=t=:| 
 
 Eg 
 
 mi - se - ri - cor - di - am 
 
 
 I 
 
 l^ 
 
 -^- 
 
 :c5: 
 
 
 
 ^^- 
 
 /3 
 
 :c5r~ 
 
 -€3r 
 
 ^ 
 
 :1= 
 
 O 
 
 -G>-
 
 MISERERE. 
 
 347 
 
 u-^f. 
 
 o 
 
 -^- 
 
 -Oi — P 
 
 isis 
 
 „f^ 
 
 :t: 
 
 tu 
 
 se - cua - dum 
 
 u&h 
 
 '^bzl^.\^<s=z»zw=^\2ai=i 
 
 ± 
 
 J^E 
 
 .^. 
 
 tu - am se - cun - dum mag- 
 
 m^-" 
 
 ¥-im=f 
 
 lozzir^i 
 
 -^ ^-r 
 
 tu - am se - cun - dum mag r nam 
 
 a±Eb 
 
 I;l2ziii= 
 
 'o~ 
 
 -7^=^ 
 
 ::1: 
 
 -^=|i 
 
 ^-- 
 
 ^-i3^S 
 
 tu 
 
 se - cun - dum 
 
 
 
 T<Z>^ 
 
 3tfEE= 
 
 ^J::^LlI^ 
 
 C3I ^-r 
 
 fe^tE^^glsfefeEel 

 
 348 
 
 MISERERE. 
 
 1 
 
 
 ■b 
 
 mag - nam mi - se - ri - cor - di - am tu - am ! 
 
 PP 00 
 
 W-^^^^ 
 
 -^— •— •- 
 
 '-■t 
 
 -^ — •-•- 
 
 =d=t:=t 
 
 1 H 
 
 I 
 
 nam mi - se - ri - cor - di - am tu - am ! 
 
 PP 
 
 iih^ 
 
 i^i^rp-p: 
 
 =!--[: 
 
 i^izprzp: 
 
 r\ /^. 
 
 :c^_c3^: 
 
 —\- 
 
 mag - nam mi - se - ri - cor - di - am tu - am I 
 
 Jjp 
 
 aizb 
 
 L-fc 
 
 -C3i 
 
 oi 
 
 d- 
 
 -H 1 ■ 
 
 "o 
 
 :c^- 
 
 n 
 
 mag - nam mi - se - ri - cor - di - am tu - am ! 
 
 lA 
 
 te-:^ 
 
 le3f- -^1- 
 
 
 1=^-- 
 
 I I 
 
 > 
 
 fjp 
 
 1^1- 
 
 — 5^- 
 
 
 ^fa^zzf 
 
 _Q!. 
 
 "o~ 
 
 ' c5i r 
 
 v-/
 
 349 
 
 AMPLIUS. 
 
 Poc.o sostenuto. 
 
 iVtr^'b o S.-. — -— r^— -»-^- - 
 
 H"hhl^ -P-^ 1 1 \- 1 1 'r - 
 
 S=1 
 
 .^-^^t(t^4L_ 
 
 ^-H^-!-h-h-- 
 
 -I— 1— ^-h 
 
 
 Am - pli - us la - va me ab i-ni-qui-ta-te 
 
 P 
 
 ^^ 
 
 
 -•-•-P^P-a 
 
 P-P ^H— H- h-j- 
 
 Am - pli - us la - va me ab i-ni-qui-ta-te 
 P 
 
 
 — I — I \- 
 
 
 Am - pli - us la - va me ab i-ni-qui-ta-te 
 
 P ■=. 
 
 
 -^-^-•-^ 
 
 -#1^- 
 
 -0-9-9- 
 
 +•- 
 
 Am - pli - us la - va me ab i-ni-qui-ta-te 
 
 lifcE 
 
 dol. ig 
 Poco sostenuto 
 
 -o 
 
 o^^ 
 
 t3 
 
 § 
 
 
 
 ^^iic>: 
 
 -^1— ^1 
 
 -^>^^^L. 
 
 — -QLi 
 
 i^ 
 
 or
 
 350 
 
 AMPLIUS. 
 
 
 P-Q|-c^c>^ 
 
 f 
 
 be 
 
 —\ h 
 
 0^_Q|- 
 
 et a pec - ca - to 
 
 — v~^— 
 
 +J*hH 
 
 O- 
 
 t-^ 
 
 Q| 0| O 
 
 H 1 ^- 
 
 _Q^_B5. 
 
 et a pec - ca - to 
 
 H 
 
 ar^li^lE^ESErEE 
 
 -ea Q Q | |7gi-oj- 
 
 =qr:tz:|: 
 
 
 
 et a pec - ca - to 
 
 
 -j-F-- --- 
 
 H 1- 
 
 ziilzztii 
 
 -e»-o 
 
 et a pec - ca - to 
 
 ;lfl 
 
 
 'CD, 
 
 .C5 
 
 
 
 
 
 7C5 
 
 ,Hr 
 
 CD 
 
 ^of- 
 
 °f 
 
 Oh
 
 AMPLIUS. 
 
 351 
 
 ^m 
 
 -^- 
 
 -^ — ^- 
 
 me - o mua - da me 
 
 fcfe^ 
 
 -c> fe— 
 
 .c^„ 
 
 ?5=^"^ 
 
 me - o mun - da me 
 
 -li-tiof 
 
 /. 
 
 ife: 
 
 O' 
 
 .Ql_Q). 
 
 jKO^ 
 
 P=h-P-F 
 
 =1=i1=^=P 
 
 fzEzEzE 
 
 me - - o mun - - da me et a pec- 
 
 / . 
 
 ?|fe3S 
 
 ^- 
 
 
 t± 
 
 me - mun - da me et a pec- 
 
 i 
 
 tfi 
 
 ^EEE 
 
 fc^^^^t 
 
 S-|§R^ -^ 
 
 I I 
 
 h-r-ih.- 
 
 \ui! — ^~' 
 
 
 t3 
 
 
 ■^W^f 
 

 
 352 
 
 AMPLIUS. 
 
 'M^^^^'^^ 
 
 et a pec - ca - to a pec - ca 
 
 to 
 
 
 feb: 
 
 / 
 
 ^=^^i 
 
 ^H^El^^i^^jESH^^^^ 
 
 t±it: 
 
 -Z -^f-c^ 
 
 et a pec - ca - to a pec - ca 
 
 ^6 
 
 I ^:^^ • • • • — -^ --_. n 
 
 P^^" "#' ■#" "#• ■#- c^ *— > i/r • m » 
 
 J— 
 
 ca - to pec-ca-to me - o 
 
 pec-ca-to 
 
 ^^— •- 
 
 / ,. 
 
 • • • l^ 
 
 ._] ^-. 
 
 ^ ^- 
 
 
 ca - to pec-ca-to me - o 
 
 pec - ca - to 
 
 ;^-b^--^^J^Ife<5^H-tl— r— HtSI 
 
 
 
 ^i! 
 
 ^32E^^Sragr.^ 
 
 fTffi- 
 
 _-i:p! 
 
 -j:
 
 AMPLIUS. 
 
 353 
 
 5St#/--^- 
 
 -^"--^t 
 
 pp o 
 
 
 mun - da me 
 
 
 
 PP. 
 
 _C2. 
 
 :q=;q: 
 
 
 ^^-«-, 
 
 ■Z|E 
 
 
 mun - da me ! 
 
 PP 
 
 ■m 
 
 W-W 
 
 -^ 
 
 me - o 
 
 mun - da me! 
 
 ff 
 
 ILS 
 
 ^- 
 
 pp 
 
 -o — - — 
 
 liizi^zTza: 
 
 :1z=tz 
 
 -^- 
 
 l4I 
 
 — ^ 
 
 
 mun - da me! 
 
 -<e«- 
 
 t^-t: 
 
 Z?^ 
 
 
 €3' 
 
 
 C3 
 
 
 ^> 
 
 -p^ e> -€3' 
 
 c^ 
 
 "<^" 
 
 "C3~
 
 354 
 
 Tenore 
 Imo. 
 
 Tenore 
 2d(). 
 
 / 
 
 < 
 
 Basso 
 Imo. 
 
 Basso 
 2do. 
 
 Mh 
 
 LIBERA. 
 
 (By Seyfried.) 
 P fP 
 
 ^g-ii^^-z^ 
 
 :3±tz^it:::Fifr<^ 
 
 -P-p-©-®- Sq-P-*-^ 
 
 EE^S:E#^ 
 
 Li-be-ra me Do-mi- ne li-be-rade mor-teae 
 P fP 
 
 (fP-©-r©~«-«-|-©-©-^- _ - _ _ _ 
 
 isip: 
 
 Li-be-ra me Do-mi -ne li-be-ra de mor-teae- 
 P fP 
 
 
 ±EEE5l±E£aJE*h±l 
 
 Li-be-ra me Do-mi - ne li-be-rade mor-teae- 
 _ _l fP 
 
 
 
 m 
 
 ^-«-©-i- 
 
 :*^F=^ 
 
 Li - be-ra me Do-mi - ne li - be - ra de mor - te ae- 
 
 Mb=^ip^= 
 
 rip: 
 
 
 
 
 -^- 
 
 ii 
 
 ter - 
 
 Mb: 
 
 na in di - e il - la tre - men - da 
 
 "C3 
 
 O- 
 
 -<3-F 
 
 < 
 
 ter 
 
 a^EEE 
 
 bqzzzt 
 
 -Qi_^ 
 
 <3. 
 
 na in di - e il - la tre - men - da 
 
 ^P 
 
 t-t-- 
 
 _o 
 
 o" 
 
 5 
 
 EEti=*E*aE: 
 
 I I 
 
 -^ 
 
 ai: 
 
 na in di - e il - la tre - men - da 
 
 lE5^:^^E*E^E*t 
 
 ter - - na in di - e il - la 
 
 tzl. 
 
 ^^- 
 
 na in di - e il - la tre - men - da
 
 LIBERA. 
 
 355 
 
 jgtbB^-^-- 
 
 
 Ui 
 
 
 "c> 
 
 "^ ' o 
 
 H 
 
 quando coe-li rao-vendi sunt et ter 
 
 ^:=t 
 
 -^ 
 
 
 ezpzfi^ 
 
 lizpitztj 
 
 ^^- 
 
 -y^^ 
 
 
 quando coe - li mo-vendi sunt et ter ----- ra 
 
 3(TZZ^ 
 
 t: 
 
 S 
 
 
 =i]=H-_z=: 
 
 quando coe - li mo-vendi sunt et ter ----- ra 
 
 3lrbo:c2: 
 
 -^-«-<»- 
 
 s^ize: 
 
 -a_j_tf^_. 
 
 t!itrt 
 
 :iptl:f±zt 
 
 -€^- 
 
 -7^^ 
 
 -©(X 
 
 ::1-^ 
 
 0- 
 
 -^ 
 
 quando coe - li mo-vendi sunt et ter ----- ra 
 mf 
 
 is^ 
 
 
 -i — ^ — P-P1 ^ — ^ — I- "tzEzEzb" I 
 
 I dura ve-ne - ris ju-di-ca-re sae-cu-lum jix- di-ca 
 
 mf 
 
 Lzzz: 
 
 tpzpzpzc 
 
 -O-ffi-© 
 
 -I H- 
 
 tZi^ 
 
 -I — I 1- 
 
 -i^ — I- 
 
 iSEtff 
 
 "{/■ 
 
 dura ve-ne - ris ju-di-ca-re sae-cu - lum ju - di- ca-re 
 
 ei=^E5 
 
 ^z!:=::|:_^^: 
 
 ^ipzrazpzpzftzpzcfiipzc^: 
 
 t=tzt:=t::B=i^=3 
 
 i 
 
 azpzszd: 
 
 4:=tztz:t: 
 
 
 dum ve-ne - ris ju-di-ca-re sae-cu - lum ju -di- ca-re 
 
 ^4 
 
 -^- 
 
 b*i#zcdz;rizi>z:^ , ^ 
 
 ztz:>zzJzf:zt=|=tZ-|-*-*=^- 
 
 
 dum ve-ne - ris ju-di-ca-re sae-cu-lum ju- di-ca- re
 
 356 
 
 LIBERA. 
 
 < 
 
 ^^^m 
 
 jjp 
 
 -^ 
 
 EE3 
 
 
 
 saeculum per ig - 
 
 -H«'+ 
 
 nem. Tremens fac-tus sum 
 PP 
 
 
 -^- 
 
 -^- 
 
 :1=::|: 
 
 Qi_c^__a^z^ 
 
 :^=1: 
 
 saeculum per ig - - nem. Tremens fac-tus sum 
 
 P/J 
 
 -^^:t=^-- 
 
 t: 
 
 o 
 
 zq=d: 
 
 EEEE^^ 
 
 saeculum per 
 
 'g 
 
 nem. Tremens fac-tus sum! 
 
 3t=:]zq\4 
 
 t; — I ^^H — \- 
 
 -^-^ 
 
 
 saeculum per 
 
 < 
 
 
 ig - - nem. Tremens fac - tus sum 
 
 ^•-•-•^•-«-,b*— •-, 
 
 
 e - go et ti - me - o dum dis-cus-si - o ve - ne - rit 
 
 J^i^h. 
 
 
 
 IpZpZBZpzpi 
 
 
 e - go et ti-me-o dum dis-cus-si -o ve-ne-rit 
 
 
 •-ppzpzp— 
 
 i^jizpz^zpzj 
 
 ifiztzi^z^ 
 
 
 6 - go et ti-me-o dum dis-cus-si - o ve - ne - rit 
 
 3^-.#- 
 
 rziz^^*zgz«:^bpzpzpipzpz|3z:2^ 
 
 Iz[z=:]z±zlzEz^z=Etzt:z^z^zEdz!Lz»z^ 
 
 e - ffo et ti - me - o dum dis-cus-si - o ve • ne - rit
 
 LIBERA. 
 
 357 
 
 b^ 
 
 P 
 
 
 at - que ven - tu - ra i 
 
 
 f-. h 
 
 ra. Quando 
 
 > P 
 
 rozztt 
 
 _o: 
 
 ^^- 
 
 4^- 
 
 l§i1 
 
 at - que ven - tu - ra 
 
 ^Ie'el^^e,^ 
 
 m 
 
 ra. Quando 
 
 C>, ^X- 
 
 at - que ven - tu - ra i 
 
 _— ISQzzfzJEEEzzbiz 
 
 
 ra. Quando 
 
 .o 
 
 :i 
 
 at - que ven - tu - ra i 
 
 ra. Quando 
 
 
 ■•-#- 
 
 
 B 
 
 Co 
 
 -<^ 
 
 "c>2 
 
 t£E; 
 
 coe -li mo - ven-di sunt et ter 
 
 m 
 
 
 =:& 
 
 -t; 
 
 Hi^e^ 
 
 coe • li mo -ven-di sunt et ter ------- ra. 
 
 ^^:«rp: 
 
 &^=Pt:: 
 
 
 C3 
 
 -r^ 
 
 IC^ 
 
 -.^ 
 
 I 
 
 coe - li mo - ven - di sunt et ter 
 
 3I^flb^»zp:rpzpzp:ic:|izzc>: 
 
 
 /=N 
 
 1:=t=t:=l: 
 
 =1^1 
 
 =1 
 
 coe - li mo- ven-di sunt et ter
 
 358 
 
 LIBERA. 
 
 / 
 
 -HI-7- 
 
 ^^- 
 
 -^- 
 
 EE*E 
 
 -e^- 
 
 p 
 
 -^- 
 
 'A- 
 
 _cz> 
 
 !-^-»-»- 
 
 *EEEEE*EEB 
 
 / 
 
 Di - es il - la 
 
 1 1 — h^ 
 
 di - es i - rae 
 
 w. 
 
 ca -la - mi- 
 
 
 P 
 
 Q-F- 
 
 — s»-»- 
 ~mEE3 
 
 /: 
 
 Di - es il - la 
 
 di - es i - rae 
 
 
 ca - la -mi- 
 
 P 
 
 n 
 
 /: 
 
 Di - es il - la 
 
 di 
 
 es 1 - rae 
 
 ca - la - mi- 
 
 P 
 
 t£= 
 
 H-l"l-f-t-^-^ 
 
 e3-r-» 
 
 F==^=F 
 
 tozaz 
 
 -^-^— •- 
 
 -^-•-•- 
 
 ^=F==*F=R 
 
 Di - es il - la di - es i - rae ca-la-mi 
 
 /" 
 
 ^o— -«;— 
 
 Mb?E^-S-£^'!Si 
 
 /: 
 
 ^ 
 
 
 ^EEES 
 
 a; 
 
 ta - tis et mi - se - ri - - ae 
 
 / 
 
 di - es magna 
 
 ttSE* 
 
 I»zp;e:l5.»i»:i?:p=.-^^kn 
 
 -^- 
 
 t- 
 
 ii 
 
 < 
 
 ta - tis et mi - se - ri - - ae 
 
 aESi^pzp; 
 
 t-t— I — F-F 
 
 litztitt 
 
 -^»t}*- 
 
 •--a 
 
 / 
 
 di - es magna 
 
 F- 
 
 ±± 
 
 =1=4 
 
 p:^ 
 
 :«£ 
 
 ta-tis et mi - se - ri - - ae 
 
 r=fef4:rt:if£:^^3£zEt 
 
 / 
 
 di - es magna 
 
 ^^# 
 
 -F 
 
 ^ 
 
 ta-tis et mi - se - ri - - ae di - es di - es mag - na
 
 ^^■i^^-, — ^- 
 
 LIBERA. 
 P 
 
 359 
 
 ^^- 
 
 ::(: 
 
 f^ 
 
 
 0| 0| o 
 
 C3 
 
 mag-na di - es et a - ma - ra val - de. 
 
 » P 
 
 ^^Z^^Z 
 
 ---X 
 
 ti^li 
 
 }^ 
 
 z^.^ 
 
 Qi_^ 
 
 — O — 
 
 <z>" 
 
 mag-ua di - es et a - ma - ra val - de 
 
 3fe9-^ 
 
 lE^Ei:"EE^ 
 
 -d-^-TS- 
 
 r^- 
 
 ^1z_-^t^: 
 
 €5 
 
 O 
 
 i 
 
 at^ 
 
 mag-na di - es et a - ma - ra val - de. 
 
 ,}t^3i*: 
 
 3±:a 
 
 — S^ 
 
 -3:55 
 
 -o- 
 
 -^>-"- 
 
 -H-H-U-- p 
 
 dum ve-ne-ris ju-di-ca-re sae-cu-lum ju-di-ca-re 
 
 -whi 
 
 maj^-na di - - es et a - ma - ra val - de. 
 
 mf 
 
 -— 0«-P-p-e- ^^i©_^- kjj_^_^_^ 
 
 ::1J 
 
 -•v«-^ 
 
 V— I- 
 
 
 
 
 dum ve - ne - ris jxi - di - ca - re sae-cu-lum ju - di - ca - re 
 Vlf 
 
 atrzizH 
 
 :ii#_Q}- 
 
 ^1^:1: xz^z:^ 
 
 IfiipZpijtZpTlZ 
 
 ziTizQTTpzpzpzcf: 
 
 
 dum ve-ne-ris ju-di-ca-re sae-cu-lum ju-di-ca-re 
 mf 
 
 b#ipz< 
 
 =q3z^zq: 
 
 
 dum ve-ne-ris ju-di-ca-re sae-cu-lum ju-di-ca-re
 
 360 
 
 LIBERA. 
 
 /" 
 
 P: 
 
 V 
 
 
 saeculum per ig 
 
 
 F 
 
 Re - qiiiem ae- 
 
 iS0 
 
 :• .• F 
 
 :t:^ 
 
 -^- 
 
 -^ 
 
 :^1=if 
 
 *Eiz:a=r 
 
 saeculum per ig 
 
 
 ■7^=S- 
 
 P 
 
 Re - quiem ae- 
 
 
 c>' 
 
 
 saeculum per ig 
 
 Re - quiem ae- 
 
 at 
 
 t;— I — 1— H- 
 
 jQy^M 
 
 W- 
 
 -o- 
 
 -^ 
 
 :i 
 
 -e^ 
 
 :?c« 
 
 saeculum per ig 
 
 Re - quiem ae- 
 
 
 E^^_ 
 
 t^- 
 
 :^zpQ)3rpz 
 
 :^^K 
 
 ter-nam do - na do - na e - is Do -mi - ne 
 
 i^E 
 
 -^ 
 
 l^b^ 
 
 :1= 
 
 o 
 
 ^^^-» O'P - 
 
 :q- 
 
 < 
 
 ter-nam do - na do - na e - is Do -mi - ne 
 
 afr-«=^"^^ 
 
 -1=4 
 
 C3 O, 
 
 CZ>.CI>" 
 
 :oi 
 
 IW 
 
 o 
 
 ter - nam do - na do- 
 
 e-is Do - mi - ne 
 
 :airz=ij-± 
 
 ^^-h^. 
 
 -^- 
 
 - o -. m- -^ 
 
 ^F- 
 
 ter - nam do - na do - na e - is Do - mi - ne
 
 LIBERA. 
 
 < 
 
 / 
 
 361 
 
 ^^ i * ^ r t i -r 
 
 ^■-p^ 
 
 ff 
 
 et lux per - pe - tu - a 
 
 -|i-P-(i- 
 
 t=[= 
 
 sun 
 
 :/Zf=T 
 
 et lux per - pe - tu - a 
 
 Elzz^z^zpz 
 
 ;iqi:^!— P=*rt 
 
 -H- r 
 
 :«zzi#: 
 
 ;ipL- 
 
 et lux per - pe - tu - a et lux per - pe - tu ■ a 
 
 / 
 
 2?=t:: 
 
 -1 — I — I — 
 itztzt: 
 
 -m—r-m-w r 
 
 / 
 
 et lux per - pe- tu - a et lux per - pe - tu-a 
 
 
 ^-^^ 
 
 fn^-d- 
 
 -^ 
 
 et lux per -pe-tu-a et lux per - pe - tu - a 
 P 
 
 i=t=if: 
 
 iH+12 — Pu_| t— [S-a- 
 
 ^F^ 
 
 P^^e> 
 
 iQipzei: 
 
 tttr;=M: 
 
 lu-ce-at e - is et lux per-pe-tu -a lu-ce-at 
 
 M=1=ti!: 
 
 lOZCZ 
 
 
 -^3-5^ 
 
 ^^#*=^ 
 
 < 
 
 lu-ce-at e - is et lux per -pe-tu-a lu-ce-at 
 ^ C^^*-«-i-*-» 1^::^ #^#-€3-, 
 
 — ^: 
 
 :r=«: 
 
 ^^- 
 
 ^ 
 
 e^- 
 
 
 lu-ce-at e - is et lux per- pe-tu-a lu-ce-at 
 P 
 
 i^ggi^^B 
 
 lu-ce-at e - is et lux per -pe-tu-a lu-ce-at 
 VOL. II. R
 
 362 
 
 LIBERA. 
 
 
 P 
 
 
 -•-•- 
 
 -e-rS-#-©- _ 
 
 -^ 
 
 
 is. Li-be -ra me Do-mi -ne 
 
 P 
 
 -^- 
 
 -,^=^ 
 
 -e^- 
 
 -#T^-©-©- 
 
 -©-•-^- 
 
 < 
 
 is. Li-be -ra me Do-mi -ne 
 e -------is. Li-be -ra me Do-mi -ne 
 
 P 
 
 V 
 
 ^^-- 
 
 -^^^ 
 
 --4- 
 
 -«- 
 
 "c^ 
 
 
 #-•-€>■ 
 
 ^ 
 
 is. Li-be -ra me Do-mi -ne 
 
 
 ££EEE 
 
 
 qgggfl^ 
 
 O Q- 
 
 < 
 
 li-be-rade mor-te ae - ter 
 fP 
 
 na in di - e 
 
 Iffibzprazi^ 
 
 
 :?idi^ 
 
 
 l O - O 
 
 ^q=::1:: 
 
 li-be-rade mor-te ae - ter - na in di - e 
 
 fP -^^ = 
 
 — P-F-^- h-h-l=H-F 
 
 o 
 
 .0 — , 
 
 o 
 
 li - be - ra de mor - te ae - ter 
 
 fP 
 
 ^^^ 
 
 EE^E 
 
 in di - e 
 
 o 
 
 li - be - ra de mor - te ae - ter 
 
 na in di - e
 
 LIBERA. 
 
 363 
 
 15iE5 
 
 ^— ^ 
 
 _^_ o - o, ii<3| I 
 
 !^« 
 
 il - la tre - men - da quan - do coe - li mo- 
 
 ]5R^=^=*=*= 
 
 Id 
 
 IQ- 
 
 3^ ^- 
 
 T=t 
 
 -^ — — 0- 
 
 '^^ 
 
 il - la tre - men - da quan - do coe - li mo- 
 
 -^ — L- 
 
 o 
 
 -^ — ^- 
 
 J3:e 
 
 il - la tre - men - da quan - do coe - li rao- 
 
 -^- 
 
 -• — •- 
 
 ^=^- 
 
 -e)- 
 
 — ^— 
 
 :m^ 
 
 ^F 
 
 4==F 
 
 il - la tre - men - da quan - do coe - li mo- 
 
 
 t^n^f: 
 
 .o_ 
 
 .C3_ 
 
 o 
 
 ^^~ 
 
 ven - di sunt et ter 
 
 Tzmzzm: 
 
 t=^: 
 
 -e3- 
 
 =^ 
 
 v^=N- 
 
 ijiLZ^Qiii-ij' 
 
 vcn - di sunt et ter - . - - - ra dum 
 
 afc'EPEtEE 
 
 ^_i — t:_t_i :n--\ 
 
 C>?fj 
 
 tt 
 
 [e3-^ 
 
 <z> 
 
 ven - di sunt et ter ra 
 
 3iF-^!^^> 
 
 IE^ESEB^^ 
 
 ^fe 
 
 ^m 
 
 ven - di sunt et ter 
 
 ra dum 
 
 r2
 
 364 
 
 LIBERA. 
 
 H-^f-i— - — -—-^- t!*-P-*-P-t»-r-©-^-e#— •- 
 
 lEEEP^ 
 
 EEfEEtSEEEE 
 
 ve - ne - ris ju -di -ca - re sae - cu - lum ju • di - ca - re 
 
 =iE=Vzz±z[:z[izti=ti: 
 
 
 seeeb 
 
 ve - ne-ris ju-di-ca-re sae -cu- lum ju - di - ca - re 
 
 3z=r2zp=^ippzp 
 
 l=tt: 
 
 ipiZiiz^: 
 
 :t:=k: 
 
 
 ve - ne-ris ju-di-ca-re sae -cu- lum ju - di-ca-re 
 
 Bjrbp3rpz^z 
 
 
 -0-O-»-0- 
 
 t^^r- 
 
 
 / 
 
 < 
 
 ve - ne-ris ju-di-ca-re sae -cu- lum ju - di-ca-re 
 
 »:zz?z:c=pzrozgizz— i 
 
 :11j±Lz:f:zz?z:c=pzroz|izz- 
 
 m'- 
 
 sae - cu - lum per i 
 
 -^- 
 
 sae - cu - lum per ig 
 
 gzzz:s2zpz:^r=:^ 
 
 ^-t— i — hi — ^ — I- 
 
 ^=t=t^=t 
 
 ■^■ 
 
 z^i^i: 
 
 
 P 
 
 sae - cu - lum per 
 
 Jg 
 
 airzz^ziHSzi|=dz 
 zz±z--i2zii=«zzi 
 
 z^z±zlz2=rz 
 
 sae - cu - lum per ig 
 
 ^
 
 365 
 
 No. VIII. 
 
 Concert in aid of Beethoven's Monument at 
 Drury Lane Theatre, July 19th, 1837. 
 
 It was in the summer of the year 1837 that the 
 citizens of Bonn, who had for the last two years 
 been actively engaged in raising funds for the erec- 
 tion of a monument to Beethoven in his native city, 
 addressed Lord Burghersh, through the Baron von 
 Schlegel, president of their managing committee, 
 in the following letter : — 
 
 My Lord, 
 
 Monsieur le Baron de Bulow has encouraged 
 me to address your Lordship on behalf of the pro- 
 posed monument to Ludwig van Beethoven, in his 
 native town of Bonn. This project has been most 
 favourably entertained in Germany: we have re- 
 ceived the profits of many concerts given for this 
 purpose in the small as well as large towns, besides 
 private subscriptions ; nevertheless, our means are 
 still insufficient for the execution of a monument in 
 all respects worthy of this great genius. Besides, 
 his glory would remain imperfect if we did not ob-
 
 366 CONCERT IN AID OF 
 
 tain for it some conspicuous support from abroad, 
 and especially from London, which has become 
 one of the principal places in Europe in which 
 music is cultivated in the greatest perfection. A 
 public concert, given in that capital, in aid of the 
 monument to Beethoven, would complete our wishes. 
 
 If a connoisseur and patron of talent like your 
 Lordship would deign to encourage such an under- 
 taking, distinguished artists will zealously assist, 
 and the numerous admirers of Beethoven will not 
 refuse their aid to do honour to his memory. 
 
 Having had the honour, in former times, of being 
 received by your Lordship, and of being present at 
 your brilliant musical entertainments in Florence 
 and in London, I gladly avail myself of this occa- 
 sion to recal myself to your kind recollection ; and 
 I beg you to accept the expression of my devotion 
 and of the great respect with which 
 
 I have the honour to be. 
 My Lord, 
 Your most obedient and humble servant, 
 
 (Signed) A. W. De Schlegel. 
 
 Bonn, May 21st, 1837. 
 
 Lord Burghersh, taking up the matter with the 
 utmost zeal, addressed an appeal to the principal 
 musical institutions of London, which in their turn
 
 Beethoven's monument, 367 
 
 showed their readiness to promote the object in 
 view. 
 
 At a meeting of the professors belonofinor to the 
 Ancient Concert, the co-operation of the members 
 of that body w^as unanimously granted, Mr. Kny- 
 vett and Mr. Cramer being deputed to act as its 
 representatives. A like course was adopted by the 
 Philliarmonic Society, which nominated Sir George 
 Smart and Mr. Moscheles in a similar capacity ; 
 Mr. Mori and Sig. Costa were appointed by the 
 orchestra of the Italian Opera to express the ad- 
 herence of that body ; and Messrs. Potter and C. 
 Lucas, at the suggestion of Lord Burghersh, on 
 the part of the disposable forces of the Royal Aca- 
 demy. Several of the principal English and foreign 
 vocalists then in London offered their co-operation 
 with the utmost willingness and liberality. Mr. 
 Bunn granted the use of Drury Lane Theatre, and 
 on the 19th of July, 1837, under the management 
 of a committee presided over by Lord Burghersh, 
 assisted by the Right Hon. the Earl of Cawdor and 
 the Right Hon. Sir Gore Ouseley, Bart., and 
 formed of the members of the musical bodies above 
 specified, a grand concert was given, the following 
 account of which is extracted from the musical 
 journals of the day. ^ 
 
 The performance which took place at Drury
 
 368 CONCERT IN AID OF 
 
 Lane Theatre on Wednesday evening was but 
 thinly attended, owing to a variety of causes, among 
 which may be noticed the dissolution of Parliament 
 and the approaching elections, the lateness of the 
 season, and, we fear, the high terms demanded for 
 admission, namely, half-a-guinea the boxes, seven 
 shillings the pit, and five shillings the gallery. In 
 a musical point of view it realised the highest ex- 
 pectations that could have been formed of it; for 
 assuredly it was the noblest entertainment of this 
 description that ever was given in England. But 
 considered with respect to its object, it has unfor- 
 tunately been a failure, the attendance having been 
 too small to produce any substantial contribution 
 to the fund. This circumstance must have, in some 
 measure, diminished the enjoyment which the ad- 
 mirers of Beethoven derived from the performance 
 of some of his greatest masterpieces. But it did 
 not damp the ardour of the performers. They evi- 
 dently exerted themselves con amore ; and we have 
 never heard music performed with greater care, 
 energy, or effect. 
 
 Nothing could have surpassed the splendour of 
 the orchestra on this occasion, which was erected 
 upon the stage, and the back of it was as high as 
 the second tier of boxes. The principal singers 
 were arranged in front ; the chorus, consisting of
 
 Beethoven's monument. 369 
 
 112 voices, on each side; the conductor in the cen- 
 tre. The band consisted of fifty violins, twelve 
 violas, twelve violoncellos, eleven double basses, 
 twenty-five wind instruments, &c., making a total 
 of 110 instruments, and a grand total of about 230 
 performers. The soli performers were INIesdames 
 Schroeder Devrient, Bishop, Knyvett, Birch, Wynd- 
 ham ; Messrs. Braham, Bennett, Balfe, Seguin, and 
 H. Phillips. The conductors. Sir George Smart, 
 Mr. Moscheles, and Mr. Knyvett ; the leaders, 
 Messrs. F. Cramer, Loder, and T. Cooke. 
 
 The selection combined : Part I. The Mount of 
 OHves. Part II. The Choral Symphony. Part 
 III. Overture Egmont. — Canon from Fidelio. — 
 Concerto in E flat (pianoforte, Mr. Moscheles). — 
 Grand scena in E. — And Finale from Fidelio. 
 
 The Mount of Olives, which formed the first act, 
 was given entire for the first time in England. 
 The solo parts were sung by Mrs. Knyvett, Mrs. 
 Bishop, Miss Birch, Mr. Braham, Mr. Phillips, and 
 Mr. Bennett. Braham was in perfect voice, and 
 had his voice perfectly under his command. He 
 sang, indeed, so well, that the principal performers 
 in the orchestra could not refrain from offerinof him 
 their friendly and hearty congratulations. The 
 band was led by F. Cramer, and conducted by Sir 
 George Smart. 
 
 R 3
 
 370 CONCERT IN AID OF 
 
 Beethoven's great Choral Symphony formed the 
 second act. It was admirably performed, and re- 
 ceived with immense applause. Schrceder sang 
 with a power and truth which only the music 
 and a kindred genius could have supported. Mr. 
 Moscheles' performance of the noble Concerto, and 
 his conducting the Choral Symphony, have been 
 already mentioned in these pages. Both were be- 
 yond commendation. The choralists in " Here 
 seize him," and the " Hallelujah," were very 
 effective; the former (which is a similar movement 
 to the pistol scene in the " Fidelio") was unani- 
 mously encored. 
 
 So far the journals. That the pecuniary result 
 of this concert should have fallen short of what 
 might be anticipated from such a cause and such 
 assistance, must have had its cause in the lateness 
 of the season and the recent death of King William 
 the Fourth. The clear profits of this concert, to- 
 gether with some donations, amounted to only 
 100/. ! No doubt that many of Beethoven's ad- 
 mirers in England, who were prevented from at- 
 tending this solemnity, would have taken a pride in 
 honouring the memory of the great master under 
 more favourable auspices. 
 
 As to the proceedings of the Committee for the 
 Beethoven Monument at Bonn, the following par-
 
 BEETHOVEN'S MONUMENT. 371 
 
 ticulars may not be uninteresting. The President 
 of the Committee, Baron A. W. von Schlegel, having: 
 rehnquished his office, owing to an accumulation of 
 private business, Dr. Breidenstein* was elected in 
 his stead. The Committee have been most suc- 
 cessful in their appeal to the mvisical world 
 throughout Europe, so that the expenses of the 
 proposed Monument are now nearly covered. The 
 sums received are the produce of concerts in more 
 than fifty different towns, the receipts of a concert 
 given by those eminent artists Thalberg and De 
 Beriot, at Bonn, for the same purpose, and the 
 generous donation of 10,000 francs from Liszt, who 
 joined the Committee as an active member. Pro- 
 mises of concerts for the same purpose have been 
 received from Vienna, Paris, Brussels, and other 
 places. 
 
 The Committee has already issued an address to 
 artists, inviting them to send designs for the Monu- 
 ment before the 1st of March, 1841. From among 
 the designs or sketches that shall be received, the 
 three best will be selected by competent judges, 
 and for each of them a premium of twenty frederics 
 
 * This gentleman, who stands in high repute as a professor of 
 music at Bonn, has made himself so meritoriously known as a 
 teacher of harmony and counterpoint, that the honour of instructing 
 H. R. II. Prince Albert, while at the University of Bonn, in that 
 branch of the art, devolved upon him.
 
 372 Beethoven's monument, 
 
 d'or will be paid, upon condition that the authors 
 of them, if required, will have models made of 
 them, upon a reduced scale, and send them to the 
 Committee. 
 
 In order to insure perfect impartiality in the se- 
 lection of the designs, the authors are requested to 
 attach a motto to each, and to inclose the same 
 motto in an envelop, together with the name and 
 the address of the artist. The competition is open 
 to artists of all countries. It is necessary to add 
 the following remarks, as they may have an influ- 
 ence upon the w^ork itself: — 
 
 1. It is decided that the Monument, or rather 
 the statue, which is to form the most essential part 
 of it, shall be executed, not in marble, but in bronze. 
 
 2. The sum which, at the commencement of next 
 year, we shall have at our disposal amounts to 
 about 13,000 dollars, Prussian currency; in addi- 
 tion to which contributions are announced, and 
 confidently expected, from several of the most im- 
 portant German and European capitals. — Ed.
 
 373 
 
 No. tX. 
 
 Sale of Beethoven's MSS. and Musical 
 Library.* 
 
 Vienna, March 16, 1828. 
 
 The sale of the lamented Beethoven's MSS, and 
 musical library, which lately took place here, ex- 
 cited uncommon interest among the lovers of mu- 
 sic, amateurs as well as professional men. The 
 following are the heads under which the articles 
 were arranged in the catalogue : — 
 
 1 . Fragments from Beethoven's musical port- 
 folio, consisting of noted paper, scraps of various 
 themes, &c. 2. Fragments and sketches in a more 
 complete form. 3. Autographs of scores already 
 published. 4. Autographs of unpublished music. 
 5. Copies of various Symphonies, Choruses, Over- 
 tures, Masses, &c., corrected by the composer's 
 own hand. 6. Printed music and theoretical 
 works. 7. A smeJl collection of works of general 
 literature. 8. A small collection of musical in- 
 struments. The contest for several of the articles 
 
 * From the Ilarmouieon, April, 1828.
 
 374 SALE OF Beethoven's 
 
 was warm and spirited, particularly between the 
 well-known music-sellers Artaria, Haslinger, and 
 Steiner. More than forty works, unknown to the 
 public, were brought to the hammer, the greater 
 part of which are productions of Beethoven's earlier 
 years. No doubt the present possessors will, ere 
 long, afford the world an opportunity of enjoying 
 these works of the lamented master. We observed 
 that the greater proportion of them became the 
 property of Artaria, after a severe contest with his 
 brother publishers ; several fetched extraordinarily 
 high prices. Besides a great many other articles, 
 Beethoven's last work, an unfinished Quintett, be- 
 gun in November, 1826, fell to the lot of Diabelli, 
 who triumphantly bore it away, at a very high 
 price, from a host of competitors. The same gen- 
 tleman also became possessor of a Solo-Capriccio, 
 of a Rondo for pianoforte and orchestra, and of the 
 English pianoforte which Beethoven had received 
 as a present from the Messrs. Broadwood. The 
 gold medal which the composer had the honour to 
 receive from Louis XVIII. on receiving the copy 
 of one of his grand masses was bought by some 
 anonymous collector. But by far the most inte- 
 resting article of the whole sale fell to the lot of 
 M. Haslinger — the collection of contrapuntic exer- 
 cises, essays, and finished pieces, which Beethoven
 
 MSS. AND MUSICAL LIBRARY. 375 
 
 wrote while under the tuition of his master, the 
 celebrated Albrechtsberger, all in his own hand- 
 writing, with the interlineal corrections of that 
 master, and his remarks on the margin. It is in 
 five thick volumes, which were evidently preserved 
 with great care. The struggle for the possession 
 of this invaluable relic — the fruit of Beethoven's 
 first studies — was long and spirited; but the sta- 
 mina of M. Haslinger brought him through : after 
 many a fiercely-contested round, he was at length 
 declared the victor, none of his antagonists coming 
 to time. We are happy to be able to state that 
 this collection of studies,* so interesting to the whole 
 musical world, is immediately to be placed in the 
 hands of Kapellmeister Seyfried, who is to prepare 
 it for the press. M. Haslinger also became the 
 fortunate possessor of a pianoforte Trio, consisting 
 of an Allegro, Adagio, Finale, and Variations, com- 
 posed while Beethoven filled the place of organist 
 in Cologne ; of a short Sonata for four hands; of 
 several songs and other vocal pieces ; of a small 
 collection, entitled Zapfenstreiche fur Turkische 
 Musik ; of two violins, with the possessor's seal on 
 each ; and lastly, of Beethoven's copy of the works 
 of Handel, Dr. Arnold's edition, in forty volumes 
 folio. The latter, as is well known, was presented 
 * This work has indeed been published. — Ed.
 
 376 SALE OF Beethoven's library. 
 
 to the lamented composer by his friend M. Stumpff, 
 of London, the possession of which tended so much 
 to soothe Beethoven during his last protracted ill- 
 ness. The mind and talents of Handel were kin- 
 dred to his own, and he was seen for hours hanging 
 over these volumes in rapture and forgetting his 
 sufferings. Two other competitors contended 
 warmly for this prize — M. Glaser of Gotha, and 
 Mr. Schenk, the well-known composer of Der 
 Dorfbarhier ; but M. Haslinger still retained his 
 honours as champion of the field.* We must, 
 however, observe, that, warm as the opposition was 
 between these different opponents, the contest was 
 still conducted with becoming respect — not to say 
 with a certain solemnity due to the relics of the 
 mighty dead. Some of the prices given astonished 
 even the most enthusiastic admirers of the com- 
 poser, and are the most satisfactory proofs of the 
 deep zeal and love for the art predominant among us. 
 
 * M. Schindler has informed us that this valuable collection 
 was bought by Haslinger for 100 florins, about £10 sterling — a 
 price which would not seem to bespeak much spirit in the rival 
 bidders; and the writer of the above account of the sale adds, 
 in a note, that the purchaser almost immediately advertised 
 it for sale in the Leipzig Musical Gazette, price 450 florins, or 
 £45. — Translator.
 
 r 
 
 rxx^^^^^ 
 
 TTT 
 
 - I 1 1 i 
 
 Xu 
 
 7-r ~ > M* 
 
 v^^ 
 
 ?= 
 
 
 =H=t 
 
 .^ov 
 
 /^M'^>V aK-A ,1/ii^A/fAy ' 
 
 ir r ■ ■- 
 
 -i-r—l- 
 
 ' ''"in m 
 
 -7^ 
 
 TT 
 
 I 
 
 \ ^ f i 
 
 — f- i ,—^ : 
 
 ( 
 
 Vj ' '1 T / 
 
 =¥^^ 
 
 
 1 — , »-_ 
 
 i f / 
 
 "' rr-^^^ 
 
 >o C ! - 
 
 A: 
 
 :=5z: 
 
 ^ 
 
 '^^ 
 
 f 
 
 (At- 
 
 ^^^i^/ ' ^^^^^ V^(i^^ ■ 
 
 
 
 1 /
 
 L 
 
 First S ketches c>( tlie Voc»l Sutjscts ol B<jemcveii's 9 * Symphoiy. 
 
 .., r- n ~^- 
 
 1 .'4 i'' ■ ^n^ . 
 
 il-' 
 
 
 
 ?5^ 
 
 'H ^ T- 
 
 ^ 
 
 
 ws 
 
 l-- 
 
 :tt 
 
 ■H-t- 
 
 ^ 
 
 ^^ 
 
 u 
 
 
 MUP 
 
 ^^ 
 
 ? 
 
 :^ 
 
 ? 
 
 V-- 
 
 'aX . / 
 
 ^ 
 
 -/^ 
 
 ^ 
 
 s=^ 
 
 ^^^'plJ-u^r'^i ^. 
 
 '• // / 
 
 s 
 
 -»— i i^ H 
 
 ^vj.vV.4^ (^.t^-^rC 
 
 , vx. 
 
 ^ 
 
 ?f^^ 
 
 V./<</./.^.-^'-/ '^ ''" /!''/ / r r >'./.'; .' 
 
 ?Z=x: 
 
 -/ / / ^ / 
 
 ^ / / /-.L-i ^ / ' ' '-] ^ 
 
 }{ 
 
 -. . I / 
 
 I / 
 
 ^^ 
 
 ft 
 
 IT^ 
 
 
 ^^ 
 
 ^^ 
 
 
 S 
 
 ^-^44- 
 
 !.• 7.
 
 '-V 
 
 V 
 
 ^N., 
 
 X 
 
 
 ■^x.. 
 
 ^^ 
 
 •^*., 
 
 r*^' 
 
 t! 
 
 N 
 
 1 
 
 ■^7 — . 
 
 ! 
 
 "'- - i ! 
 
 I i 
 
 -ti- 
 
 ■->/ 

 
 377 
 
 SYSTEMATIC CATALOGUE 
 ov 
 
 ALL THE ORIGINAL WORKS 
 
 BY 
 
 LUDWIG VON BEETHOVEN, 
 
 AS PUBLISHED BY T. HASLINGER, FROM VIENNA. 
 
 A.— PIANO FORTE MUSIC. 
 
 No. 
 
 
 
 1. 
 
 Sonata in E flat . 
 
 2. 
 
 
 in D 
 
 3! 
 
 
 in F minor 
 
 4. 
 
 
 in F minor 
 
 5. 
 
 
 in A 
 
 6. 
 
 
 in C 
 
 7. 
 
 
 in E flat . 
 
 8. 
 
 
 in C minor 
 
 9. 
 
 
 in F 
 
 10. 
 
 
 inD 
 
 11. 
 
 
 in C minor 
 
 12. 
 
 
 in E 
 
 13. 
 
 
 in G 
 
 14. 
 
 
 in B flat . 
 
 If). 
 
 
 in A flat . 
 
 16. 
 
 
 in C sharp 
 
 17. 
 
 
 in E flat . 
 
 18. 
 
 
 in D 
 
 I.— SONATAS. 
 
 FOR THE PIANO FORTE ALONE. 
 Op. 
 
 -2 
 2 
 2 
 7 
 
 10 
 10 
 10 
 13 
 14 
 14 
 22 
 26 
 27 
 27 
 28 
 
 No. 
 19. 
 
 Sonata in G 
 
 Op 
 29 
 
 20. 
 
 ,, in D minor 
 
 29 
 
 21. 
 
 „ in E flat . 
 
 29 
 
 22. 
 
 „ in G minor 
 
 49 
 
 23. 
 
 „ in G 
 
 49 
 
 24. 
 
 ., in C 
 
 53 
 
 25. 
 
 „ in F 
 
 54 
 
 26. 
 
 „ in F minor 
 
 57 
 
 27. 
 28. 
 29. 
 
 „ in F sharp 
 „ in G _^ 
 „ in E flat . 
 
 78 
 79 
 81 
 
 30. 
 
 ., in E minor 
 
 90 
 
 31. 
 
 ., in A 
 
 101 
 
 32. 
 
 „ in B flat . 
 
 . 106 
 
 33. 
 
 „ in E 
 
 109 
 
 34. 
 
 „ in A flat . 
 
 . 110 
 
 35. 
 
 „ in C minor 
 
 HI 
 
 II.— MISCELLANEOUS PIECES, 
 
 FOR THE PIANO FORTE ALONE. 
 
 1. 
 
 Andante favori, in F . 
 
 3.^ 
 
 9. 
 
 >, 
 
 Bagatelles in F , 
 
 33 
 
 10. 
 
 3. 
 
 >. J. • • 
 
 104 
 
 
 4. 
 
 
 126 
 
 11. 
 
 5. 
 
 Fantasie in G minor 
 
 77 
 
 12. 
 
 f). 
 
 Polonaise in C 
 
 89 
 
 13. 
 
 7. 
 
 Freliides in C 
 
 . 29 
 
 
 8. 
 
 Rondo in C 
 
 . 51 
 
 
 „ in G 
 
 ,, in G (for Piano- 
 forte and Violin) 
 Dances (Seven Waltzes) 
 „ (Six Waltzes) . 
 ,, (Minuets and 
 Waltzes) 
 
 51
 
 378 
 
 CATALOGUE OF ORIGINAL WORKS 
 
 III.— VARIATIONS 
 
 FOR THE PIANO-FORTE, WITH AND WITHOUT ACCOMPANIMENTS. 
 1. — For the Piano-forte ahme. 
 
 No. 
 
 
 
 
 
 
 O,. 
 
 1. 
 
 Variations (Theme de Marche) ..... 
 
 2. 
 
 J5 
 
 (Quant' e pin bello) 
 
 
 
 
 
 3. 
 
 ') 
 
 (Nel cor piii non) . 
 
 
 
 
 
 4. 
 
 » 
 
 (Nozze ilisturbate) 
 
 
 
 
 
 5. 
 
 )> 
 
 (Waldmadchen) 
 
 
 
 
 
 6. 
 
 >> 
 
 (Mich brenut ein) 
 
 
 
 
 
 7. 
 
 „ 
 
 (Air russe) 
 
 
 
 
 
 8. 
 
 )> 
 
 (Tandeln und Scherzen) , 
 
 
 
 
 
 9. 
 
 
 (LaStessa) . 
 
 
 
 
 
 10. 
 
 „ 
 
 (Kind willstdu) 
 
 
 
 
 
 11. 
 
 „ 
 
 (Es war einmahl) . 
 
 
 
 
 
 12. 
 
 •» 
 
 (in a familiar style) 
 
 
 
 
 
 13, 
 
 „ 
 
 (Vieni Amore) 
 
 t. 
 
 
 
 14. 
 
 » 
 
 (God save the King) 
 
 • 1 
 
 
 25 
 
 15. 
 
 >> 
 
 (Rule Britannia) 
 
 J 
 
 
 26 
 
 16, 
 
 )» 
 
 (Theme orig.) 
 
 
 
 
 34 
 
 17, 
 
 >J 
 
 (With a Fugue) 
 
 *^ 
 
 
 
 
 18. 
 
 )5 
 
 (Thirty-two Variations) 
 
 
 
 
 36 
 
 19, 
 
 >> 
 
 (Theme russe) 
 
 
 
 
 
 20. 
 
 J» 
 
 (Waltz by Diabelli) 
 
 
 
 
 
 
 
 2. — Jf'ith Accompaniments. 
 
 21. 
 
 Variations (Se vuol ballare) for Piano-forte and Violin 
 
 22. 
 
 » 
 
 (Air de Handel) for Piano-forte and Violoncello 
 
 23, 
 
 
 (Ein MUdchen) 
 
 . . • . 
 
 24. 
 
 )j 
 
 (Bey Mannern) . 
 
 . , 
 
 
 
 25. 
 
 )> 
 
 (Theme orig.) for Piano 
 loncello . 
 
 -forte. Violin an( 
 
 1 Vio 
 
 - 
 
 26. 
 
 >> 
 
 (Air ecossais) for Piano-fc 
 
 )rte and Flute 
 
 
 
 27. 
 
 ») 
 
 (Air ecossais) 
 
 
 
 
 28. 
 
 )t 
 
 (Air autrichien) 
 
 , , 
 
 
 
 29. 
 
 ij 
 
 (Air ecossais) 
 
 . 
 
 
 
 30. 
 
 >j 
 
 (Air ecossais) . . 
 
 . 
 
 
 
 31. 
 
 » 
 
 (Air ecossais) 
 
 . 
 
 
 
 32. 
 
 » 
 
 (Air tirolien) 
 
 , 
 
 
 
 33. 
 
 j> 
 
 (Air ecossais) 
 
 , 
 
 
 
 34. 
 
 ,, 
 
 (Air russe) 
 
 . 
 
 
 
 35. 
 
 •» 
 
 (Air ecossais) 
 
 . 
 
 
 
 36. 
 
 
 (Air tirolien) 
 
 . 
 
 
 
 37. 
 
 „ 
 
 (Air ecossais) 
 
 . 
 
 
 
 38. 
 
 ,, 
 
 (Air russe) 
 
 . 
 
 
 
 39. 
 
 )» 
 
 (Air ecossais) 
 
 • . • 
 
 
 
 40. 
 
 » 
 
 (Air ecossais) . 
 
 . 
 
 
 
 41. 
 
 
 (Air ecossais) 
 
 . . 
 
 
 
 42, 
 
 >» 
 
 (Schwestern von I'rag) for 
 
 Violin and 
 
 Violo 
 
 ncello 
 
 121
 
 BY BEETHOVEN. 
 
 379 
 
 No. 
 
 1. Sonata in D 
 
 2. Variations in C 
 
 3. Variations in D 
 
 IV.— PIECES 
 
 FOR TWO PERFORMERS ON THE PIANO-FORTE. 
 No. 
 4. Three Marches in C, 
 E flat, and D 
 
 Op. 
 6 
 
 27 
 
 v.— DUETS 
 
 FOR PIANO-FORTE AND VIOLIN. 
 
 Op. 
 45 
 
 1. 
 
 Sonata in D 
 
 12 
 
 6. 
 
 
 in A • 
 
 . 30 
 
 2. 
 
 „ in A 
 
 12 
 
 7. 
 
 
 in C minor 
 
 . 30 
 
 3. 
 
 „ in E flat . 
 
 12 
 
 8. 
 
 
 inG 
 
 . 30 
 
 4. 
 
 „ in A minor 
 
 . 23 
 
 9. 
 
 
 in A 
 
 . 47 
 
 0. 
 
 „ in F 
 
 24 
 
 10. 
 
 
 in G 
 
 . 96 
 
 VI.— DUETS 
 
 FOR PIANO-FORTE AND VIOLONCELLO. 
 
 1. Sonata in F . . 5 1 4. „ in A . .69 
 
 2. „ in G minor . 5 5. „ in C . .102 
 
 3. „ mY^t:^^ 17 I 6. „ iuD . . 102 
 
 VII.— TRIOS 
 
 FOR PIANO-FORTE, VIOLIN, AND VIOLONCELLO. 
 
 1. Trio in K flat . • 1 [ 5. Trio in D (Viol.) . 70 
 
 2. „ in G . . . 1 6. „ in E flat . . 70 
 
 3. „ in C minor . . 1 7. „ in B flat . . 97 
 
 4. „ in B flat (Clar.) . 11 ( 
 
 VIII.— QUARTETTS and QUINTETTS 
 
 FOR THE PIANO- FORTE. 
 
 1. Quartett in E flat, for Piano-forte, Violin, Alto, and Vio- 
 
 loncello . . . . . . . . .16 
 
 2. Quintett in E flat, for Piano-forte, Hob. Clar. Bassoon and 
 
 Horn 16 
 
 IX.— CONCERTOS 
 
 FOR THE PIANO-FORTE, WITH ORCHESTRAL ACCOMPANIMENTS. 
 
 1. Concerto in C . . . . . . . .15 
 
 2. „ in B flat 19 
 
 3. „ in C minor ....... 37 
 
 4. „ in C, for Piano-forte, Violin, Violoncello, Con- 
 
 certante, and Orchestra . . . .56 
 
 5. „ in G 58 
 
 6. „ in E flat 73 
 
 7. Fantasia, with Chorns ....... 80
 
 580 
 
 CATALOGUE OF ORIGINAL WORKS 
 
 B.-VIOLIN MUSIC. 
 
 X.— TRIOS 
 
 FOR VIOLIN, ALTO, AND VIOLONCELLO. 
 
 Jo. 
 
 1. 
 
 Trio in E flat 
 
 Op. 
 . 3 
 
 No. 
 5. 
 
 Op. 
 „ in C minor . . 9 
 
 2. 
 3. 
 
 „ (Serenade) . 
 ., in Ci . 
 
 . 8 
 . 9 
 
 6. 
 
 ,, (Serenade) for Violin, 
 Flute, and Alto 
 
 4. 
 
 „ in D . 
 
 . 9 
 
 
 
 XL— QUARTETTS 
 
 FOR TWO VIOLINS, ALTO, AND VIOLONCELLO. 
 
 1. 
 
 Quartett 
 
 in F 
 
 18 
 
 10. 
 
 
 in E flat 
 
 74 
 
 ■I. 
 
 
 inG . 
 
 18 
 
 11. 
 
 
 in F minor . 
 
 95 
 
 3. 
 
 
 in D . 
 
 18 
 
 12. 
 
 
 in E flat 
 
 127 
 
 4. 
 
 
 in C minor 
 
 18 
 
 13. 
 
 
 in B flat 
 
 130 
 
 5. 
 
 
 in A 
 
 18 
 
 14, 
 
 
 in C sharp min. 
 
 131 
 
 6. 
 
 
 in B flat 
 
 18 
 
 15. 
 
 
 in A minor 
 
 132 
 
 7. 
 
 
 in F . 
 
 59 
 
 16. 
 
 
 in F . 
 
 135 
 
 8. 
 
 
 in E minor 
 
 59 
 
 17. 
 
 Fugue 
 
 in B flat . 
 
 133 
 
 9. 
 
 
 in C . 
 
 59 
 
 
 
 
 
 XII.— QUINTETTS 
 
 FOR TWO VIOLINS, TWO ALTOS, AND VIOLONCELLO. 
 3. Fugue in D . 
 
 1. Quintett in E flat 
 
 2. „ in C . 
 
 4 
 29 
 
 137 
 
 XIII.— SEXTETTS AND SEPTETTS 
 
 FOR THE VIOLIN, ETC, 
 
 1. Septett in E flat for Violin, Alto, Violoncello, Clarionet, 
 
 Bassoon, Horn, and Double Bass . . . .20 
 
 2. Sextett in E fldt, for two Violins. Alto, two Horns, and Vio- 
 
 loncello ......... 81 
 
 XIV.— CONCERTOS AND ROMANCES 
 
 FOR THE VIOLIN, WITH ORCHESTRAL ACCOMPANIMENTS. 
 
 1. Romance in G 
 
 2. „ in F 
 
 40 
 50 
 
 3, Concerto in D 
 
 61
 
 BY BEETHOVEN. 381 
 
 C— VOCAL MUSIC. 
 XV.— SONGS Ax^JD BALLADS, 
 
 WITH ACCOMPANIMENT OF THE PIANO-FORTE. 
 No. 
 
 1. War Song of the Austrians (1797). Kriegslied der Osterreicher. 
 
 2. Farewell to the Citizens of Vienna. Abschiedsgesang, Sfc. 
 
 3. Drinking Song. Trinklied 
 
 4. La Partenza 
 
 5. Tender Love. Zdrtlicke Liebe 
 
 6. Prayers (Six Sacred Songs of Gellert's), Op. 32 
 
 7. Love of our Neighbour. Die Liebe des Ndchsten 
 
 8. Of Death, f'om Tode 
 
 9. Reverence of God through Nature. Die Ehre Gottesaus der Natur 
 
 10. God's Power and Providence. Gottes Macht vnd Vorsehung 
 
 11. Penitential Hymn. Busslied 
 
 12. Adelaide, Op. -48 
 
 13. The Blessing of Friendship. Das Gfiick der Freuudschaft 
 
 14. Ihe Free Man. Derfreye Mann 
 
 15. Hymn of Sacrifice. Opfer/ied 
 
 16. Urians Voyage Round the \Vorld, Op. 52 
 
 17. Fire-colour. Feiierfurb 
 
 18. The Song of Rest. Das Liedchen von der Ruke 
 
 19. May Song. Maygcsang 
 
 20. Molly's Parting. Molly's Abschied ^Eight Songs 
 
 21. Love. Liebe 
 
 22. Marmoth 
 
 23. The Flower of St. John's Wort. Das Blutnchen 
 
 ff'u/iderho/d J 
 
 24. The Call of the CEvail, Op. 24. Der Wachtelschlag 
 
 25. To Hope, Op.'32. An die Hoffnung 
 
 26. Longing (1st Melody), Op. 3s. Schnsucht 
 
 27. „ (2nd Melody) 
 
 28. „ (3rd Melody) 
 
 29. „ (4th Melody) 
 
 30. Canon for the New Year. Zum ncuen Juhr 
 
 31. Mignon (Six Songs and Melodies) Op. 57 
 
 32. New Love new Life. Neue Liebe, neues Leben 
 
 33. Romance (Gothe's Faust) 
 
 34. Gretel's Warning 
 
 35. To the absent Lover. An den fernen Geliebten 
 
 36. The Contented Man. Der Ziifriedene 
 
 37. Song of the Absent. Lied aus der Feme 
 
 38. Longing. Sehnsucht 
 
 39. The Warrior's Adieu. Des Kriegers Abschied 
 
 40. In qiiesta tomba 
 
 41. The Lover. Der Liebende 
 
 42. The Youth in a Foreign Land. Der J'ungling in der Fremdc 
 
 43. Hojie, Op. 82. Hoffnung 
 
 44. The Lover's Lament. Lubes Ktuge
 
 382 CATALOGUE OF ORIGINAL WORKS 
 
 No. 
 
 45. L'Amante impatiente. Stille Frage 
 
 46. L'Amant. Liebcs-Ungedtild 
 
 47. Joys of Life. Lebens-genuss 
 
 48. Pleasures of Melaucholyl 
 
 49. Longing VThree Songs, Op. 38, by Gothe 
 
 50. With a coloured ribbon J 
 
 51. Remembrance (Mathison), Op. 72. Attdenken. 
 
 52. Klegy on the Death of a Bodle. E/egie auf den Tod eines Pudels. 
 
 53. To a Mistress who wished to part. Als die Geliebte sieh trennen 
 
 wollte 
 
 54. Merkenstein, Op. 100 
 
 55. The Spirit of the Bard. Der Bardengeist 
 
 56. The Call from the Mountain. Rufvom Berge 
 
 57. Germania 
 
 58. To my beloved. A>i die Geliebte (von Stall) 
 
 59. So or so 
 
 60. Resignation 
 
 61. The Secret. Das Geheimtiiss 
 
 62. Silence. Das Schweigen. (Canon) 
 
 63. To Hope. An die Hoffnung, Op. 94 
 
 64. To a distant Mistress. An die feme Geliebte (a Series of Six 
 
 Songs, by A. Jeitteles), Op. 98 
 
 65. The Man of his Word. Der Mann von Wort, by F. A. Klein 
 
 schmid, Op. 99. 
 
 66. Merkenstein, near Baden, by J. B. Rupprecht, Op. 100. 
 
 67. Evening Hymn. Abendlied, O'^.IQZ 
 
 68. O Hope. Hoffmmg 
 
 69. The Song of the Nightingale. Der Gesang der Nachttgall 
 
 70. Canon for Six Voices 
 
 71. Canon for Four Voices 
 
 72. Canon for Three Voices 
 
 73. The Kiss. Der Kuss, Op. 128 
 
 74. Drinking Song. Trinklied 
 
 XVI.— VOCAL MUSIC, 
 
 WITH PART OR THE WHOLE OF AN ORCHESTRAL ACCOMPANIMENT. 
 
 No. Op. 
 
 1 . Scena e Aria : Ah perfido ...... 46 
 
 2. Germania ......... 
 
 3. It is achieved. Es ist vollhracht ..... 
 
 4. ScotchSongs,Booklst l^^Tith Accompaniment for Piano 
 
 r " " o 1 q'!?I Forte, Violin, and Violoncello . 108 
 
 6. ,, ,, isook ord J 
 
 7. Calm at Sea and prosperous Voyage . . . .112 
 
 8. March and Chorus from the Ruins of Athens . . .114 
 
 9. Terzett : Tremate, empi, tremate ! . . . . .116 
 
 10. Elegiac Song 118 
 
 11. Hymn of Sacrifice, by Mathison, for Solo and Chorus . 121 
 
 12. Hymn of Alliance, byGbthe, for two Solo Voices and Chorus 122
 
 BY BEETHOVEN. 
 
 383 
 
 XVII.— MASSES, ORATORIOS, OPERAS. 
 
 1. Mass in C, for Four Voices and Orchestra 
 
 2. ,, in D, fur Four Voices and Orchestra 
 
 3. Christ on the Mount of Olives, Oratorio . 
 
 4. The Glorious Moment, Cantata 
 
 5. Fidelio, Grand Opera .... 
 
 6. Egmont, Tragedy (Overture, Entreacts and Songs) 
 
 Op. 
 
 86 
 123 
 
 85 
 
 84 
 
 D.— ORCHESTRAL MUSIC. 
 
 XVIII.— SYMPHONIES. 
 
 Svmphony in C 
 
 . 21 
 
 ' „ in D 
 
 . 36 
 
 eroica in £ flat .... 
 
 . 55 
 
 „ in B flat 
 
 . 60 
 
 ,, in C minor ..... 
 
 . 67 
 
 „ Pastorale in F . 
 
 . 68 
 
 ,. in A . 
 
 c 92 
 
 ,, in F . 
 
 . 93 
 
 ., Choral in D minor 
 
 . 125 
 
 VVelliDgton's Victory in the Battle of Vittoria . 
 
 . 91 
 
 XIX.— OVERTURES 
 
 FOR THE ORCHESTRA. 
 
 Overt 
 
 Lire (Prometheus) 
 (Coriolanus) . 
 (Egmont) 
 (Leonore) 
 (Fidelio) 
 
 (Ruins of Athens) 
 (Tlie Emperor's Name Day) 
 (King Stephen) 
 (Inauf^uration of the Theatre) 
 (Characteristique) 
 
 
 
 
 . 43 
 62 
 
 84 
 
 87 
 
 113 
 113 
 117 
 124 
 138 
 
 XX.— DANCES AND BALLETS 
 
 FOR THE ORCHESTRA. 
 
 1. Miniiets in E flat 
 
 2. ,. in D 
 
 3. German Dances in C 
 
 4. Waltzes in D 
 
 5. „ in D 
 
 6. Prometheus, Ballet
 
 384 CATALOGUE OF BEETHOVEN's WORKS. 
 
 XXI.— MUSIC 
 
 FOR WIND INSTRUMENTS. 
 No. Op. 
 
 1 . Trio for two Hoboes and English Horn . . . .66 
 
 2. Sestetto for two Clarionets, two Bassoons, and two Horns . 71 
 
 3. Harmonies 
 
 4. Equale for four Trombones 
 
 5. Marches for Military Bands.
 
 385 
 
 MESSRS. CRAMER AND CO. ARE PUBLISHING 
 A COMPLETE EDITION 
 
 OF 
 
 BEETHOVEN'S WORKS, 
 
 EDITED BY J. MOSCHELES. 
 
 THE FOLLOWING HAVE ALREADV APPEARED 
 
 No. 
 1. 
 
 2. 
 
 3. 
 4. 
 5. 
 6. 
 
 Sonata Pathetique, dedicated to Prince 
 
 Lichuowski 
 Grand Sonata, dedicated to ditto 
 Sonata No. 1, Op. 29 
 Ditto, No 2, ditto 
 Ditto, No. 3, ditto 
 Grand Sonata, dedicated to Count de 
 
 Browne ... 
 
 7. Sonata, dedicated to Mademoiselle Juli 
 
 ette Guicciardo, No. 1 
 
 8. Sonata, dedicated to the Princess de 
 
 Licbtenstein, No. 2 
 
 9. Sonata (Pastorale), dedicated to M 
 
 Sonnenfells . . 
 
 10. Sonata 
 
 11. Ditto 
 
 12. Ditto 
 
 13. Ditto, dedicated to the Countess 
 
 Brunswic . 
 
 14. Sonata, dedicated to Haydn, No. 1 
 
 15. Ditto, ditto, " No. 2 
 
 16. Ditto, ditto. No. 3 
 
 17. Grand Sonata, dedicated to Madame 
 
 Antonia de Brentano 
 
 18. Grand Sonata . • 
 
 19. Sonata, No. 1 
 
 20. Ditto, No. 2 
 
 21. Sonata, dedicated to Madame la Com 
 
 tesse de Browne, No. 1 
 
 22. Ditto, dedicated to ditto. No. 2 
 
 23. Ditto, dedicated to ditto. No. 3 
 
 24. Grand Sonata, dedicated to Count d 
 
 Waldstein . . 
 
 VOL. II. 
 
 Opera. 
 
 13 
 2G 
 29 
 29 
 29 
 
 22 
 
 27 
 
 28 
 
 90 
 
 54 
 
 110 
 
 111 
 
 49 
 49 
 
 10 
 10 
 10 
 
 53 
 
 Key. 
 
 C minor. 
 
 A flat. 
 
 G. 
 
 D minor. 
 
 Aflat. 
 
 B flat. 
 
 C minor. 
 
 E Hat. 
 
 D. 
 
 £ minor. 
 
 F. 
 
 Aflat. 
 
 F $ major. 
 F minor. 
 A. 
 C. 
 
 C minor. 
 Ettat. 
 G minor. 
 G. 
 
 C minor. 
 
 V. 
 
 D.
 
 386 
 
 LIST OF BRETHO^M:^" s 
 
 No. 
 
 25. Sonata Appassionata, dedicated to Coun t 
 
 de Brunswic 
 
 26. Sonata Caracteristique 
 
 27. Sonata, No. 1 . 
 
 28. Ditto, No. 2 
 
 29. Grand Sonata 
 
 30. Grand Sonata, Part I. 
 
 31. Ditto, Part II. 
 
 32. Sonata 
 
 33. Sonata . , 
 
 34. Fantasia . . 
 
 35. Andante 
 
 36. Variations e Finale alia Fuga 
 
 WORKS. 
 
 
 Opera. 
 
 Key. 
 
 
 F minor 
 
 81 
 
 Eflat. 
 
 14 
 
 E. 
 
 14 
 
 G. 
 
 109 
 
 E. 
 
 106 
 
 Bflat. 
 
 106 
 
 Bflat. 
 
 101 
 
 A. 
 
 79 
 
 G. 
 
 77 
 
 G minor 
 
 35 
 
 F. 
 
 
 Eflat. 
 
 SONATAS FOR PIANO AND VIOLIN. 
 
 10, 
 
 Grand Sonata, No. 1, dedicated to 
 
 Salieri 
 Sonata, No. 2, dedicated to ditto 
 Ditto, No. 3, dedicated to ditto 
 Sonata, dedicated to Monsieur le Comte 
 
 Maurice de Fries, No. 1 
 Sonata, dedicated to ditto, No. 2. 
 Sonata, dedicated to the Emperor of 
 
 Russia, No. 1 
 Ditto, dedicated to ditto. No. 2 
 Ditto, dedicated to ditto. No. 3 
 Grand Sonata, dedicated to Prince 
 
 Rudolphe . 
 
 Grand Sonata, dedicated to M. Kreutzer 
 
 12 
 12 
 12 
 
 23 
 23 
 
 30 
 30 
 30 
 
 95 
 
 47 
 
 D. 
 A. 
 
 E flat. 
 
 A minor. 
 F. 
 
 A. 
 
 C minor. 
 
 G. 
 
 G. 
 A. 
 
 SONATAS FOR PIANO AND VIOLONCELLO. 
 
 1. Grand Sonata, No. 1 
 
 2. Sonata, No. 2, 
 
 3. Sonata 
 
 4. Ditto 
 o. Ditto, No. 1 
 6. Ditto, No. 2 
 
 5 
 
 F. 
 
 5 
 
 G. 
 
 17 
 
 F. 
 
 69 
 
 A. 
 
 102 
 
 C. 
 
 102 
 
 D, 
 
 TRIOS FOR PIANO, VIOLIN, AND 
 VIOLONCELLO. 
 
 1. 
 
 Trio, No. 1 . 
 
 . 
 
 1 
 
 E flat. 
 
 •2. 
 
 Ditto, No. 2 
 
 
 1 
 
 G. 
 
 ,3! 
 
 Ditto, No. 3 . 
 
 . 
 
 1 
 
 C minor 
 
 4. 
 
 Trio . 
 
 . 
 
 11 
 
 Bflat. 
 
 5. 
 
 Trio . 
 
 (from the Septetto) 
 
 38 
 
 E flat. 
 
 6. 
 
 Ditto, No. 1 . 
 
 . 
 
 70 
 
 D. 
 
 1 . 
 
 Ditto, No. 2 . 
 
 • • • 
 
 70 
 
 Eflat. 
 
 S. 
 
 Ditto 
 
 . 
 
 97 
 
 Bflat.
 
 LIST OF BEETHOVEN S WORKS. 
 
 387 
 
 
 CONCERTOS. 
 
 
 
 No. 
 
 
 Opera. 
 
 Key. 
 
 1. 
 
 Concerto 
 
 15 
 
 c. 
 
 2. 
 
 Ditto, dedicated to Monsieur Charles 
 
 
 
 Nikl 
 
 19 
 
 Bflat. 
 
 3. 
 
 Concerto, dedicated to Prince Loui 
 
 
 
 
 Ferdinand de Prusse 
 
 37 
 
 C minor. 
 
 4. 
 
 Concerto 
 
 58 
 
 G. 
 
 5, 
 
 Concerto, dedicated to Archduke Ru 
 
 
 
 
 dolphe 
 
 73 
 
 E flat. 
 
 6. 
 
 Fantasia with Chorus 
 
 80 
 
 C minor. 
 
 AIRS WITH VARIATIONS. 
 
 1. Air Russe 
 
 "2. Nel cor piu . 
 
 3. Une Fievre . 
 
 4. Air from the Ballet of Le Nozze 
 
 5. La Stessa la Stcssissima 
 
 6. Swiss Air ' . 
 
 (to be continued.) 
 
 Mount of Olives (Oratorio) — English Version. By Thos. Oli- 
 phant, Esq. The Choral Parts to be had separately. 
 
 Six Songs, with English Words. By Thos. Oliphant. Esq 
 
 Fidelio, a Grand Opera. 
 
 *if.* Publishing by Subscription, a complete Edition of the 
 Qualuors for two Violins, Tenor, and Violoncello. 
 
 Lo;:(ioo: PrintiNi 1)\ Wir.f.ivM Ci.o'.vr* ami Son'b, SlamforJ Street.
 
 
 V 
 
 XL 
 
 6 7 2 5 11
 
 University of California Library 
 
 Los Angeles 
 
 This book is DUE on the last date stamped below. 
 
 Phone Renewals 
 
 310/825-9188 
 
 « 
 
 REC'DMUS!'^ 
 
 'm 2 2 1996 
 SEP 1 9 WS 
 
 UNIVERSITY of CALIFORNIA 
 
 Lo;^ A.
 
 jniversfTy of California Los Anoeles 
 
 '" III III jlllllil ll|ll I II nil 11 \\\ 
 
 L 006 693 407 6 
 
 MUSIC 
 LIBR'^RY 
 
 ML 
 410 
 B4S33 
 V.2 
 
 COD, 2 
 
 A 000 614 050 3