Beethoven Part 11

"The quartet you shall also receive by the middle of October.

Overburdened by work, and suffering from bad health, I really have some claim on the indulgence of others. I am here on account of my health, or rather to the want of it, although I already feel better.

"Apollo and the Muses do not yet intend me to become the prey of the bony scytheman, as I have yet much to do for you, and much to bequeath, which my spirit dictates and calls on me to complete before I depart hence for the Elysian Fields; I feel as if I had written scarcely more than a few notes."

The initial performance of the first of the Galitzin Quartets took place in the spring of 1825. Beethoven regarded the event as a momentous occurrence and required the four performers, Schuppanzich, Weiss, Linke and Holz, to sign a compact, each to "pledge his honor to do his best to distinguish himself and vie with the other in zeal."

The quartets once begun were carried on with ardor in the midst of most distressing occurrences, chief of which were ill health and its twin demon, poverty, as well as the waywardness of his nephew, all of which tended to draw him to the spiritual life. The character of Beethoven's work changed from the period of the Ma.s.s in D. An altered condition, an altogether new, different strain is apparent thenceforth. The deeply religious, mystical character of the first movement of the Ninth Symphony can be attributed to his previous absorption on the Ma.s.s. He worked out of this vein somewhat in the other movements as not being adapted to the uses for which the symphony is designed, but it reappears again in the quartets to the extent of dominating them.

The one in B Flat, opus 130, completes the three for Prince Galitzin. Of the Cavatina of this quartet, Holz is authority for saying that Beethoven composed it with tears, and confessed that never before had his own music made such an impression on him; that even the repet.i.tion of it always cost him tears. In this movement Beethoven used the word _Beklemmt_ (_Beklommen_) (oppressed, anxious) at a point where it modulates into another key. His loneliness, superinduced by his life of celibacy, by his deafness, his disappointment in his nephew, all had the effect of separating him from the world. The spiritual side of his nature, always active, had been brought into new life during his work on the Ma.s.s, as we have seen. It was never thenceforth allowed to fall into abeyance, but was developed in direct ratio with his withdrawal from the world. An atavism from some remote Aryan ancestry inclined him, as in the case of so many Germans, to mysticism and the occult. It was a condition which had its compensations. That there were periods when he saw visions may be conjectured by the character of the last quartets.

When they were written, Beethoven was in the shadow of death, on the border-land of the other world, and from that proximity he relates his experience. These works receive the reverence of all musicians for their spirituality, their mysticism, their psychological qualities. They are the revelations of the seer, awe-inspiring mementos of states and conditions of mind which transcend the experiences of ordinary life. In these last impa.s.sioned utterances of the master, we find a strain holier, more profound, different from anything which the art of music has yet produced.

The Cavatina on its first performance, on March 21, 1826, was received with indifference, and the finale, which was an exceedingly long and difficult fugue, fared even worse. Self-sufficient as Beethoven was on all matters connected with the working out of his musical thoughts, he coincided for once with his friends and the publisher on the matter of the fugue. He wrote a new finale for the quartet, and published the fugue separately as opus 133. Joseph Boehm, the noted violinist, then in his twenty-eighth year, rehea.r.s.ed this fugue under Beethoven's direction, and often played the violin part subsequently.

The great C sharp minor Quartet opus 131, is the next one to claim our attention. Beethoven characterized it as a piece of work worthy of him.

This colossal work was one which Wagner continually held up for the commendation of mankind. It occupies among quartets a position a.n.a.logous to that of the Ninth Symphony in its own cla.s.s. The summer of 1826 in which it was composed, was a period fraught with momentous occurrences to the master, chief of which was the attempted suicide of his nephew. The circ.u.mstances which led up to this catastrophe can be briefly narrated. Beethoven had been disappointed in any and every plan formed for the future of the young man. He at first looked for great things from him; by gradual stages his expectations were so modified that at last he began to fear that he would never be able to provide for his own maintenance.

The musical education of the young man had first engaged the master's attention, in the hope that some of the family talent might have been transmitted to him. When it became plain that nothing could be achieved by him in a musical career, he was entered at the university of Vienna with a view of making a scholar of him. Here he was unable to keep up with his studies, owing to inattention. He failed to pa.s.s his examination and left the school in consequence. Literature being closed to him, he entered the Polytechnic school, intending to fit himself for business life, but failed here also. That Karl's conduct caused the master much anxiety appears in his letters to him. In some of them he entreats him to do better, in others he upbraids him. Both lines of reasoning seem to have been equally obnoxious to this careless, indifferent young man, who objected to being taken to task for his misdeeds, and hated "rows" and "scenes" with his uncle. When he failed the second time he was at his wits' end in dread of his uncle's reproaches. Many a stormy scene had occurred between them during the two preceding years. So violent had these become, that the master was on one occasion requested to find another apartment on account of the complaints that came from other occupants of the house. It may very well be that Beethoven expected too much from this carelessly reared youth, whose mother lost no opportunity of embittering him against the master.

The young man probably never seriously contemplated suicide, but wanted to give his uncle a scare. By working on his fears he reasoned that he would be able to have his own way for a long while to come. He threatened suicide, and the day following this threat actually went so far as to shoot himself. He was not severely injured, but the attempt on his life rendered him amenable to the laws of his country, and a short confinement in the government hospital followed.

Beethoven was greatly agitated on learning of the rash act. He had some difficulty in finding him, as the young man had left his quarters and went to another part of the city before carrying out his threat. With the aid of friends he was finally located and an affecting scene followed in which the master loaded him with kindness, treating him very much as that other prodigal son was treated by his father.

Beethoven's personal intervention with the magistrate eased the situation for the nephew. Two very interesting letters from the master in this connection were published some years ago in the Neuen Freien Presse of Vienna, and are included in Herr Kalischer's Beethovenbriefe published in Berlin in 1902. The following one shows Beethoven's ethical character in strong light:

To the Magistrate Czapka:

DEAR SIR:

Hofrath von Breuning and I have carefully considered what is best to be done. We think for the time being no other course is practicable than that Karl should remain with me a few days (during the interval until he can enter the military service). His language is still excitable under the impression that I would reprimand him since he was capable of making an attempt on his life. He has, however, shown himself quite affectionate toward me. Be a.s.sured that to me fallen humanity is still holy. A warning from you would probably have good results. It would do no harm to let him know that un.o.bserved he will be watched while with me. Accept my highest esteem for yourself, and consider me as one who loves his kind, who desires only good wherever possible.

Yours respectfully, BEETHOVEN.

In accordance with the English custom of putting the fool of the family into the army, Stephen von Breuning had hit upon the plan of a military career for Karl since all others seemed closed to him. Von Breuning, who always had a faculty of being of service to Beethoven, was a counsellor in the war-office. He urged on Beethoven the feasibility of procuring an appointment for Karl in the army, and interested his superior, Field-marshal Lieutenant von Stutterheim, in the matter. Beethoven was not greatly in favor of a military career for the young man. "ubrigens bin ich gar nicht fur den Militarstandt," he says in a letter to Holz of September 9, when the subject was first broached. He opposed it for a while, but finally bowed to the inevitable.

Toward the end of October, and before the negotiations in regard to the army appointment were concluded, the young man was released from the hospital, and placed under the control of the master, with the injunction that he be removed from Vienna at once. At this juncture brother Johann placed his country house at Gneixendorf at the disposal of the master and nephew, and thither the two repaired, the elder, stricken, bowed with grief; the youth, sullen and indifferent. The master had never entered Johann's house since the summer of 1812, when he had tried so ineffectually, as noted in a previous chapter, to break up the relations existing between the pair while the lady was as yet only the housekeeper. It must have been with great reluctance that he considered visiting him at all. The sacrifice, if such there was, was made in the interest of Karl; where this young scapegrace was concerned, the master was generally willing to sink his own preferences. The situation must have been embarra.s.sing for all concerned, less so in reality for the master than for the others. Absorbed in the composition of the new finale, and also in the finishing up of the great C sharp minor Quartet, he was for the most part oblivious to anything unusual in his surroundings. Johann's wife, with the policy of her cla.s.s, bore no resentment, or at least showed none outwardly. A pleasant room on the ground floor was fitted up for him, but the welcome must have been a cold one at best.

No doubt the Gutsbesitzer took much pleasure in showing off his possessions to the brother whom he knew had little esteem for him at heart. He paraded his own importance in the neighborhood, taking the composer on business visits to prominent people. On these occasions he would not usually introduce his brother, treating him as a kind of appendage. The master, deep in the thought of creative work, was, no doubt, to a great extent unconscious of this sordidness. At all events he gave no sign. But he contributed very little to the social well-being of the family. Two aims only seem to have occupied his mind at this time: the welfare of his nephew, and the carrying to completion of a few great works already sketched or begun. These included a Tenth Symphony, (for the Philharmonic Society of London), the Oratorio, The Victory of the Cross, for the Vienna Gesellschaft der Musikfreunde, music to Goethe's Faust, which latter he must have been in good mood for,--as well as an overture on Bach. "I hope yet," he writes from Johann's home, "to bring some great works into the world, and then like an old child, to close my earthly career somewhere among good people." He worked with feverish haste in the latter years of his life, whenever his health permitted, even abandoning his books in favor of his work. Failing health prevented him from forcing it ahead as in former years, but he worked up to the limit of his powers.

His habits while composing have been referred to in a previous chapter, namely, that he was in the habit of singing, stamping, gesticulating, while under the spell of his inspiration. This kind of thing was new to the maid who looked after his room, and she managed to extract amus.e.m.e.nt from it. Beethoven finally discovered her laughing at him, and forthwith bundled her out of the room, giving orders that no female would be admitted again. One of the men about the place, Michael Kren, was then engaged, who performed his duties faithfully, and helped materially to establish a more comfortable existence for the sick, helpless man. He has narrated circ.u.mstantially the master's mode of life while at Gneixendorf. He was up and at work at half-past five, beating time with hands and feet, singing, humming. This went on until breakfast time, half-past seven. This meal over he would hurry out of doors, (the weather was fine that particular autumn) spending the morning going about the fields, note-book in hand, his mind intent on his musical thoughts, occasionally singing or calling out, going now slowly, then very fast, at times stopping still to write out his ideas. This would go on until noon, when he would return to the house for dinner. This was served at half-past twelve, after which he would go to his room for about two hours, then again to the fields until sunset. He was never out in the evening as night air was considered bad for him. Supper was served at half-past seven. His evenings were spent in his room, and at ten o'clock he went to bed.

This simple, regular life, with the healthful country air, should have restored Beethoven's health in some measure could it have been continued longer. His letters from here indicate that he expected some improvement in this respect. Had not some untoward circ.u.mstances intervened, the master's life might have been spared long enough to enable him to carry to completion the list of works outlined above.

That Johann had an ulterior object in asking his brother to visit him is quite probable. The growing fame of the composer and the ever-increasing value of his copyrights was well known to him. He had made money in his dealings between composer and publisher in the past, and could have made still more had he possessed his brother's confidence in a greater degree. His cupidity however, prevented him from keeping up for long even the semblance of kindness or hospitality. Fuel was so scantily provided the sick guest that he suffered from cold, and he was told that a charge would be made for the room. Other circ.u.mstances may have contributed to bring about a climax. At all events the situation became so unpleasant that he suddenly decided to return to Vienna.

CHAPTER XVIII

IN THE SHADOWS

As a day well spent gives joyful sleep, So does a life well spent give joyful death.

--LEONARDO DA VINCI.

The C sharp minor Quartet and the one in F, opus 135, which rounds out this wonderful series, were all but completed before leaving Vienna on the visit to Johann. That there was some polishing still to be done on the latter is apparent from the fact that it has the superscription in the master's handwriting, "Gneixendorf am 30 Oktober 1826." The finale has these curious sentences: "Der schwergefa.s.ste Entschluss. Muss es sein? Es muss sein." Question and answer turn on the subject of paying his room rent according to Schindler, the dialogue being a reminiscence of previous times. Beethoven often made some discussion when his rent was demanded, either from the desire to extract some sport from the situation, or from fear of being cheated. It often had to be demonstrated to him by the aid of an almanac that the time was up and the money really due.

The only work begun and completed by the master while at Gneixendorf was the new finale, which replaced the long fugue of the B flat Quartet. It proved to be his last work. The series of unpleasant events referred to in the last chapter ensued, and, without considering consequences, he returned to Vienna.

It is not likely that Johann or his wife exerted themselves much to keep him longer. They intended spending the winter in Vienna themselves, and were probably relieved to have the visit ended so that they could make their preparations for the journey. With his usual impatience, he must needs take the first conveyance which was to be had. Johann had a closed carriage, but would not let him have it, and the journey was made in a light open wagon. December had arrived and the weather, which had been fine all the fall, was now bad. He was insufficiently clothed for the two days' drive in such weather. He contracted inflammation of the lungs on the way, and reached his quarters in the house of the Black Spaniards, a very sick man.

This house, his last earthly abiding-place, had been his home for the past year. It was a disused monastery, which had been established in 1633 by the daughter of Philip III of Spain on taking up her residence in Vienna after her marriage. The original building was destroyed in one of the wars of that turbulent time, but was rebuilt at the end of the seventeenth century. The building was demolished in 1904. It was situated on the glacis, in a part of the city where Beethoven had lived much of the time since coming to Vienna.

The fates seem to have been against him from the beginning of his journey. His sleeping-room was an enormous one on the second floor, which, with two small anterooms, composed the apartment. The facilities for heating a room of that size, in those times must have been wholly inadequate. Several days elapsed before a physician could be found to attend him. He had quarrelled with two of his former physicians and each refused his aid. Finally, a professor from the medical college, a Dr.

Wawruch, was summoned, who took the case in hand. Schindler states that it was several days before he or any of the master's friends knew of his arrival in Vienna, and leaves the inference that he was unattended during this interval except by his nephew. When they learned of his return, Schindler and Stephen von Breuning were unremitting in their attentions.

As Beethoven had taken a violent prejudice against Dr. Wawruch, another physician, Dr. Malfatti, was engaged, who acted in conjunction with the former. The treatment was now changed, large quant.i.ties of iced punch being administered, probably with the view of relieving the congestion of the stomach. This mode of treatment exactly suited the sick man, a result which was probably foreseen by the astute Dr. Malfatti, who had prescribed for Beethoven during previous illnesses and knew his patient's idiosyncrasies. Beethoven's childlike simplicity is ill.u.s.trated in the difference of his demeanor toward his two physicians.

He always had a warm welcome for the one who had administered the iced punch, remembering no doubt its immediately alleviating and beneficial results, but Dr. Wawruch fared poorly at his hands, especially when he was in a bad humor. On more than one occasion when the latter appeared the patient turned his face to the wall with the remark, "Ach der Esel."

Everything possible was now done to add to his comfort. Two servants were engaged to attend him. His friends cheered him by their visits.

Hummel called, bringing his young pupil Ferdinand Hiller. Some of Schubert's songs were brought him, probably by Huttenbrenner. They consisted of Die Junge Nonne, Der Taucher, the Ossian songs, Die Burgschaft. Schindler states they awakened the master's surprise and delight, eliciting from him the remark, "Truly, Schubert has the divine fire."

Beethoven was so eager for work that he attempted composition again in the intervals of his illness, but his strength was not sufficient to enable him to go on with it. Hitherto his one resource in every difficulty had been his work. The injunction of Saint-Simon, to lead during the whole of the vigorous portion of manhood the most original and active life possible, had been perforce carried out by him. Now that his one resource, work, failed him, he was bereft. He sought to pa.s.s the time by reading, and began with Kenilworth in a German translation, but soon threw it down saying: "The man writes only for money."

The volatile Holz did not fail him in his need, but manifested his friendship by many kind acts. His former publishers the Haslingers, Tobias and Karl, as well as Diabelli, called occasionally. The Archduke at Olmutz could hardly have been expected to come, especially as a fatal termination was not for some time considered probable. We hear nothing of Czerny, of Schuppanzich, of Linke, or of Zmeskall, which to say the least, is singular. Schindler's omission of these names, however, has no particular significance; he wrote many years after the event, and forgot or omitted the mention of circ.u.mstances of greater importance than this. It is not like what we know of the character of Czerny, or Zmeskall, to neglect Beethoven in his extremity. The master's old friend, Stumpf, of London, sent him a splendid edition of Handel's works in forty volumes, with which he occupied himself a good deal. They afforded him much enjoyment.

Anxiety on account of money, so prevalent all through these latter years, was increased by his enforced abstinence from work. What he chiefly desired now was sufficient ready money to carry him through, so that he would not have to break into the little h.o.a.rd put by for Karl many years before. At this juncture the Philharmonic Society of London sent him one hundred pounds, being an advance payment on account of a concert they intended giving for his benefit. The initiative in this matter was taken by Beethoven himself, and it is safe to say that nothing that was done for him during this period was so appreciated, or gave him so much pleasure, as this act of kindness from the Society. The money reached him about ten days after an operation had been performed on him for the relief of the dropsical acc.u.mulations incidental to his liver trouble. Four such operations had been found necessary during this illness. They were at best only palliative. His joy on receiving the letter and money from London was such that the wound, not yet healed, opened, and a great discharge followed. A letter of thanks was sent to the Society, dictated by the master, but he was too weak even to sign it.

Schindler relates that Beethoven on nearing middle-age, was wont to indulge himself in day-dreams of a prosperous future, in which he could have sufficient means to enable him to live in comfort, keep his carriage like brother Johann, and have leisure for the refinements of life. This illusion, maintained by most workers, no doubt brightened his prosaic, solitary life. Pity that he could not have realized it in some measure: after the heat and burden of the day, in which he had so well acquitted himself, it would seem fitting, had he had an evening of life such as was vouchsafed Wagner, with opportunity for completing his life-work in peace and contentment.

One result achieved by the master as a consequence of his visit to Gneixendorf would have afforded him great satisfaction could he have known it. The matter of making suitable provision for Karl in event of his own death had lain on his conscience for some time before this visit, as already stated. While there, he begged his brother Johann to make a will in Karl's favor, which eventually came to pa.s.s.

The army appointment, of which mention has been made, became an established fact early in December, and the young man soon after left Vienna to join his regiment. Beethoven never saw him again. He by this time concurred with his friends in the opinion that the discipline of military life might be beneficial to him, and was resigned to the separation.

The great C sharp minor Quartet is indelibly a.s.sociated with Karl, through its dedication to Baron von Stutterheim, through whom the appointment came. The decision to dedicate this work to the Baron, was arrived at only two weeks before the master's death. The work had been for some time in the hands of the publishers, Messrs. Schott of Mayence.

Beethoven, finally becoming aware that no more works could be produced by him, and wishing to reward the Baron in the only way possible, dictated an urgent letter to Messrs. Schott on the subject. "The Quartet," he said, "must be dedicated to Field-marshal von Stutterheim, to whom I am under great obligations. Should the first dedication by any possibility be already engraved, I beg of you, on every account, to make this alteration. I will gladly pay any extra expense connected with it."

The last Quartet, opus 135, is dedicated to Johann Wolfmayer, a merchant of Vienna with whom he had much friendly intercourse. Wolfmayer showed his interest in the master's work in many ways. It may be mentioned that he offered him a sum equal to several hundreds of dollars to carry out his project of writing a Requiem Ma.s.s. "Write to Stumpf and Smart," he said to Schindler a few days before his death, when already too weak to speak above a whisper. His consideration for others was paramount even in the face of approaching death.

Notwithstanding the hopeful tone which characterized the letters written during his last illness, there were times when he knew that he was making a losing fight. Already on January 3, a month after his return from Gneixendorf, he wrote a letter to his attorney, Dr. Bach, in the form of a will, in which as may be supposed, his nephew is his sole heir. No conditions were imposed on the young man, who, had the will remained in this form, might have squandered the entire amount. (The estate netted $5000). This was pointed out to Beethoven by his counsellor, Dr. Bach, and also Von Breuning, who urged on him the necessity of adding a codicil to the will, in which the princ.i.p.al would be tied up for life, leaving only the income available. This he resisted to within a few days before the end, but finally gave in, and, not without great difficulty, wrote with his own hand a codicil, consisting of but three lines, in which the income only was to be enjoyed by the nephew, the princ.i.p.al to revert to his natural or testamentary heirs, after Karl's death. Breuning, true to his sense of duty, not satisfied with having gained his point, endeavored, at the risk of antagonizing the master, to change the words "natural or testamentary heirs," to "legitimate heirs." Beethoven was obdurate on the point, however, saying, "the one term is as good as the other." Von Breuning, good faithful friend that he was, survived Beethoven but one year.

Schindler dwells on the perfect tranquillity of Beethoven in the face of approaching death. "Plaudite amici, comoedia finita est," he said on the day when the codicil was written. On the following day at noon, he received the last rites of the church. The event was no doubt a solemn one. Soon after, the death-struggle began, and continued without interruption for two days. Huttenbrenner was a faithful attendant during these last days. His friend Schubert also called, at least once, and, it is said, was recognized by Beethoven, although he was unable to speak to him.

The nervous strain on his friends in witnessing this struggle between life and death, in which but the one issue was possible, must have been great. It was, no doubt, a relief to Schindler and Von Breuning to leave the master in Huttenbrenner's charge on the afternoon of the 26th of March, and go to Wahring in order to secure a burial-place. While on this necessary errand, a terrific storm arose, which prevented their return until night. Meanwhile, Huttenbrenner, left alone with the master, endeavored to ease his position by sustaining his head, holding it up with his right arm. His breathing had been growing perceptibly weaker, carrying the conviction that the end was near. The storm was of unusual severity, covering the glacis with snow and sleet. The situation of the building was such that it was exposed to the full fury of the tempest. No sign was given by the master that he was conscious of this commotion of the elements. With the subsidence of the storm at dusk, the watcher was startled by a flash of lightning, which illumined everything. This was succeeded by a terrific peal of thunder which penetrated even Beethoven's ears. Startled into consciousness by the unusual event, the dying man suddenly raised his head from Huttenbrenner's embrace, threw out his right arm with the fist doubled, remained in this position a moment as if in defiance, and fell back dead.

The two friends returned some hours after all was over. The master died at a quarter before six o'clock on the evening of March 26, 1826. He was in his fifty-seventh year.

The funeral took place on March 29 at 3 P.M. from the church of the Minorites and was attended by many of the most prominent people of the city. Eight musicians bore the coffin from the house to the church, while thirty-two torch-bearers followed it, among the number being Czerny and Schubert. This was followed by a choir of sixteen male singers, and four trombones, which alternated in singing and playing.

The music consisted of two equali composed by Beethoven many years before, arranged for this occasion by Seyfried, to the words of the _Miserere_ and _Amplius_.

Notwithstanding the immense concourse of people a.s.sembled at the obsequies, estimated at twenty thousand, there was but one relative to occupy the position of mourner, and that was Johann.