Life of Beethoven Part 4

It was Bettina who, in like manner, paved the way to the personal acquaintance with Gothe, which actually took place in the summer of 1812, at Toplitz, as we have seen from Beethoven's letter quoted above: but, though Beethoven has praised Gothe's patience with him, (on account of his deafness) still it is a fact, that the great poet and minister too soon forgot the great composer: and when, in 1823, he had it in his power to render him an essential service, with little trouble to himself, he did not even deign to reply to a very humble epistle from our master. That letter was forwarded to him at Weimar, through the grand-ducal charge d'affaires, and must, of course, have reached his hands.

In the years 1811 and 1812, nothing occurred of particular moment for the biographer of Beethoven. He lived in his usual way, in winter in the city, and in summer in the country, and adhered to his old custom of changing his place of abode as often in the twelvemonth as others do inns and places of diversion. Hence it was no uncommon thing for him to have three or four lodgings to pay for at once. The motives for these frequent changes were in general trivial. In one lodging, for instance, he had less sun than he wished, and, if his landlord could not make that luminary shine longer into his apartment, Beethoven removed from it. In another, he disliked the water, which was a prime necessary for him, and, if nothing could be done to please him on this point, Beethoven was off again; to say nothing of other insignificant causes, such as I shall have to ill.u.s.trate by two comic anecdotes when I come to the years 1823 and 1824. In regard to his summer abodes, he was particularly whimsical.

It was a usual thing with him to remove in May to some place or other on the north side of the city; in July or August to pack up all of a sudden and go to the south side. It is easy to conceive how much unnecessary expense this mode of proceeding must have entailed. In his last years, Beethoven was so well known throughout the whole great city as a restless lodger, that it was difficult to find a suitable place of abode for him. At an earlier period, it was his friend Baron Pasqualati who kept apartments in constant readiness for the fickle Beethoven; if he could not find any that he liked better, he returned, with bag and baggage, to the third or fourth floor at Pasqualati's, where, however, not a ray of sunshine was ever to be seen, because the house has a northern aspect. Beethoven, nevertheless, frequently resided there for a considerable time.

In these three years of the second period he laboured a.s.siduously, and we see already nearly one hundred of his works in the catalogue. The price of them increased from year to year, and in the like proportion increased Beethoven's necessities, whims, and eccentricities, or whatever you choose to call them. Large as were the sums that he earned, he had not laid by anything; nor did his brother Carl, who at that time had the entire management of all his affairs, strive to prevail upon him to do so. The first impulse to secure by economy a competence for the future, was given by an excellent woman, whose name must not be omitted here: it was Madame Nanette Streicher (her maiden name was Stein), whose persuasions were beneficial to Beethoven in another point besides that just mentioned, inasmuch as they induced him again to mingle in society, though indeed but for a short time, after he had almost entirely withdrawn himself from it. Madame Streicher found Beethoven in the summer of 1813 in the most deplorable condition with reference to his personal and domestic comforts. He had neither a decent coat nor a whole shirt, and I must forbear to describe his condition such as it really was. Madame Streicher put his wardrobe and his domestic matters to rights, a.s.sisted by M. Andreas Streicher (a friend of Schiller's from his youth), and Beethoven complied with all her suggestions. He again took lodgings for the ensuing winter at Pasqualati's; hired a man-servant, who was a tailor and had a wife, but she did not live in the house with him. This couple paid the greatest attention to Beethoven, who now found himself quite comfortable, and for the first time began to accustom himself to a regular way of life, that is to say, in so far as it was possible for him. While his attendant followed his business undisturbed in the ante-room, Beethoven produced in the adjoining apartment many of his immortal works; for instance, the Symphony in A major, the Battle Symphony, the Cantata "_Der glorreiche Augenblick_" (the Glorious Moment), and several others. In this situation I will now leave him, and close the second period of his life, from the motley events of which the reader may, of himself, draw this conclusion:--that, if the first period of Beethoven's life may be justly called his golden age, that which immediately followed it was not a silver age, but an age of bra.s.s.

THIRD PERIOD.

FROM NOVEMBER, 1813, TILL HIS DEATH, IN 1827.

PART I.

Causes of Beethoven's preceding Troubles--Performance of his 'Battle of Vittoria,' for the Benefit of disabled Soldiers--Dishonest Conduct of M. Malzel; its Effect on Beethoven--Commencement of the Author's Acquaintance with him--Attention paid to Beethoven by the Allied Sovereigns at Vienna--Pitiful Conduct of Carl M. von Weber--Scotch Songs set to Music by Beethoven--Death of his elder Brother--He undertakes the Guardianship of his Son, whom he adopts--Diminution of his Annuity by the Failure of Prince Lobkowitz--He commences House-keeping--Law-suit with his Brother's Widow--Society for the Performance of Beethoven's Chamber Music, directed by Carl Czerny--Further Diminution of his Pension--His Pupil, the Archduke Rudolph, nominated Archbishop of Ollmutz--Beethoven commences a grand Ma.s.s for his Installation--Household Troubles--Walzes and Bagatelles--Straitened Finances--Ign.o.ble Application of Musical MS.--Performance of 'The Ruins of Athens'--The 'Land-owner' and the 'Brain-owner'--Subscription of Sovereigns to Beethoven's new Ma.s.s--His Letter to Cherubini.

The various troubles which Beethoven had to encounter in the second period of his life, of which we have just been treating, originated, firstly, in disappointed love; secondly, in his increasing deafness, for his right ear totally refused to perform its functions; and, thirdly, in his inexperience in matters of business, for the just comprehension of which nature had not endowed him with the requisite faculties. All the unpleasant things which had hitherto befallen him, to which belong the various collisions with his friends, were mere private matters, capable, indeed, of deeply affecting such a mind, but not of checking creative genius in its flights. Thus far he was a stranger to suits and courts of law, attempts upon the productions of his mind, and public quarrels with utterly unprincipled men. All these, and many other trials, awaited him in the period at which we have now arrived. They were not all of them provoked by him, but partly brought upon him by the pressure of circ.u.mstances, partly by intriguing persons, who strove on every occasion to turn his inexperience to their own private advantage. From these contests sprang circ.u.mstances deplorable for Beethoven, which had a most pernicious influence on his creative genius, as well as upon his temper, as we shall have occasion to observe in the course of this third period of his life.

The moment at which I have to resume the thread of his history, and to connect it with the preceding period, is that when Beethoven, in the autumn of 1813, was preparing for the performance of his Battle of Vittoria, and his A major Symphony, both which works he had just completed. The performance of these, with some other pieces of his composition, took place on the 8th and again on the 12th of December in the same year, in the hall of the University, for the benefit of the Austrian and Bavarian soldiers disabled in the battle of Hanau. A letter of thanks to all the co-operators in those two concerts, written by Beethoven's own hand, and destined for insertion in the _Wiener Zeitung_, lies before me, and possesses historical interest. Owing to the length of this doc.u.ment I can only venture here to introduce a few extracts from it. After Beethoven has, at the opening of this address, expressed his thanks for the a.s.sistance he has received, he proceeds thus:--"It was a rare a.s.semblage of eminent performers, each of whom was inspired solely by the idea of being able to contribute by his talents something towards the benefit of the country; and who, without any order of precedence, co-operated, even in subordinate places, in the execution of the whole.... On me devolved the conduct of the whole, because the music was of my composition; had it been by any one else, I should have taken my place at the great drum, just as cheerfully as M. Hummel did[44], for we were all actuated solely by the pure feeling of patriotism and willingness to exert our abilities for those who had sacrificed so much for us." Respecting the composition of the orchestra, Beethoven expressly says--"M. Schuppanzigh was at the head of the first violins, M. Spohr and M. Mayseder co-operated in the second and third places; M. Salieri, the chief Kapell-meister, beat time to the drums and the cannonades; and Messrs. Siboni and Giuliani were likewise stationed in subordinate places."

No sooner was this patriotic act accomplished than Beethoven returned to his accustomed occupation, not dreaming to what unheard-of results (results specially injurious to him) his latest work, The Battle of Vittoria, would give occasion, and what treachery, on the part of a man whom he had always considered as his friend, would follow, nay, in a manner, spring out of, that solemn act.

M. Maelzel, the mechanist, inventor of the musical metronome, was one of Beethoven's warmest friends and adherents. In the year 1812, M. Maelzel promised the great composer to make him an apparatus for a.s.sisting his hearing. To spur him on to the fulfilment of this promise, Beethoven composed a piece--"Battle Symphony" (so he calls it himself)--for the Panharmonicon, recently invented by M. Maelzel. The effect of this piece was so unexpected that Maelzel requested its author to arrange it for the orchestra. Beethoven, who had long entertained the plan of writing a grand Battle Symphony, acceded to Maelzel's proposal, and immediately set about completing the work. By degrees four acoustic machines were produced, but only one of which Beethoven found serviceable, and used for a considerable time, especially in his interviews with the Archduke Rudolph and others, when it would have been too tedious to keep up a conversation in writing.

It was M. Maelzel who undertook the arrangement of the two concerts above-mentioned, and as this was no trifling job, Beethoven relinquished it to him without suspicion, occupied at home meanwhile with his composition. Hence it was that, in the first public announcement, Maelzel presumed to proclaim this work of Beethoven's his own property, as having been presented to him by the author. This a.s.sertion was flatly contradicted by Beethoven, upon which Maelzel declared that he claimed this work in payment for the machines which he had furnished, and for a considerable sum of money lent. As, however, he adduced no evidence to this point, Beethoven regarded what had taken place as an unbecoming joke of his friend's, and suspected nothing worse, though from that time the behaviour of this friend to Beethoven was beneath the dignity of an educated man.

Immediately after the first of those concerts, Beethoven received intimation from several quarters that Maelzel was seeking ways and means to appropriate that new work to himself in an illicit manner--a thing which the master, however, held to be impossible, for he had never suffered the scores to go out of his possession, and began to keep a watchful eye on the individual parts for the orchestra. But this caution came rather too late; for Maelzel had already found means to come at several of those parts, and to get them arranged in score.

It may be asked what object Maelzel could have to carry his dishonesty to such a length? He had projected a journey to England, and meant to make money there, and likewise on the road thither, with Beethoven's Battle-Symphony. By way of excusing his conduct in Vienna, he scrupled not to declare loudly that Beethoven owed him four hundred ducats, and that he had been obliged to take that work in payment.

These scandalous proceedings were for a considerable time a subject of general reprobation, and afterwards forgotten. In a few months, however, Maelzel set out for England, and Beethoven presently received intelligence from Munich that he had had the Battle-Symphony performed in that city, but in a mutilated shape, and that he had given out that the work was his property. It was now high time for Beethoven to take legal steps against Maelzel. From the deposition relative to that fact, which he delivered to his advocate, and which I possess in his own handwriting, I shall merely quote the following pa.s.sage:--"We agreed to give this work (the Battle-Symphony), and several others of mine, in a concert for the benefit of the soldiers. While this matter was in progress I was involved in the greatest embarra.s.sment for want of money.

Abandoned by everybody here in Vienna, in expectation of a bill, &c., Maelzel offered to lend me fifty ducats in gold. I took them, and told him that I would return them to him here, or that he should have the work to take with him to London, if I should not accompany him; and that, in this latter case, I would give him an order upon it to an English publisher, who should pay him those fifty ducats." I must further mention a declaration made in this matter by Baron Pasqualati, and Dr. von Adlersburg, advocate to the court, and an address of Beethoven's to the performers of London. From that declaration, dated October 20th, 1814, it appears that Beethoven had in no wise relinquished to Maelzel the copyright of that work; and in the address to the performers of London, of the 25th of July, 1814, Beethoven adverts to the circ.u.mstance at Munich, and expressly says--"The performance of these works (the Battle-Symphony, and Wellington's Battle of Vittoria) by M. Maelzel is an imposition upon the public, and a wrong done to me, inasmuch as he has obtained possession of them in a surrept.i.tious manner." He further warns them against that "mutilated"

work; for it was ascertained that Maelzel had not been able to get at all the orchestral parts, and had therefore employed some one to compose what was deficient.[45]

This disgraceful proceeding I have deemed it my duty to state here without reserve, as its effect, both on Beethoven's temper, and on his professional activity, was extremely injurious. It served also to increase his mistrust of those about him to such a degree that for a considerable time it was impossible to hold intercourse with him. It was, moreover, owing to this cause that from this time forward Beethoven had most of his compositions copied at home, or, as this was not always practicable, that he was incessantly overlooking his copyists, or setting others to overlook them, for he considered them all as dishonest and open to bribery, of which indeed he had sufficient proofs. By that circ.u.mstance, of course, his suspicion on this point was kept continually awake; and, after such an encroachment upon his property, who would imagine that Beethoven could ever allow this pseudo-friend to hold intercourse with him, though indeed only by letter? This, nevertheless, was the case. When M. Maelzel was striving to bring his metronome into vogue, he applied, in preference, to Beethoven, at the same time intimating that he had then in hand an acoustic machine, by means of which the Composer would be enabled to conduct his Orchestra.

Maelzel's letter on this subject, dated Paris, April 19th, 1818, lies before me, and communicates this intelligence. Nay, he even proposes in it that Beethoven should accompany him in a journey to England.

Beethoven expressed his approbation of the metronome in a letter to Maelzel, but of the promised machine he never heard another syllable.

I shall here take leave to state that it was in the year 1814 that I first made Beethoven's personal acquaintance, which I had long been particularly desirous to do.[46] He was the man whom I worshipped like an idol, the composer all of whose works I heard and even practised during my studies at the Gymnasium of Olmutz, and all the public performances of which I now, as a member of the University of Vienna, made a point of attending. It was in the first months of 1814 that I found an opportunity to deliver, instead of another person, to Beethoven, who was then lodging in the house of Baron von Pasqualati, a note to which an immediate answer was required. He wrote an answer, asking meanwhile several questions, and, short as was this conversation, and though Beethoven took no farther notice of the bearer of the note, who had scarcely arrived at manhood, my longing merely to hear the voice of the man for whom I felt infinitely more esteem than for Kant and the whole _corpus juris_ put together, was gratified, and the acquaintance, subsequently so important and eventful to me, was made. It was, however, not till the beginning of the year 1816 that I met him almost daily at a particular hour at the Flowerpot Tavern, and thus came into closer contact with him. But if I followed him with my veneration before my personal acquaintance with him, after that I was bound to him as though by a spell. Nothing that concerned him now escaped me, and, wherever I merely conjectured him to be, there I insinuated myself, and always accosted him frankly: a hearty shake of the hand invariably told me that I was not troublesome to him. The princ.i.p.al object for meeting at the above-mentioned place, where M. Pinterics, a friend of Beethoven's, a man universally respected, and a Captain in the Emperor's German Guard, were our never-failing companions, was the reading of the newspapers, a daily necessity to Beethoven. From that place he frequently permitted me to attend him in his walks, a privilege which I accounted one of the greatest felicities of my life, and for which, though overloaded with studies, I always contrived to find plenty of time. To render him service, whenever and wherever he needed it, became from that moment, till his decease, my bounden duty; and any commission that _he_ gave me took precedence of every other engagement.

In the year 1814, Beethoven lost his old patron, Prince Carl von Lichnowsky, who died on the 15th of April.

The remarkable political epoch, when, in the autumn of 1814, the allied sovereigns and many other distinguished personages from the confederated states of Europe met in congress at Vienna, was likewise of importance and of pecuniary benefit to Beethoven. He was requested by the magistracy of the city of Vienna to set to music, as a Cantata, a poem by Dr. Weissenbach, of Salzburg, the purport of which was to welcome the ill.u.s.trious visitors on their arrival within the walls of ancient Vindobona. It is the Cantata _Der glorreiche Augenblick_ (The Glorious Moment), which has but very recently been published, with a different text, by the t.i.tle of "_Preis der Tonkunst_" (Praise of Music). That this is one of the least meritorious of Beethoven's works every one must admit: he himself attached no value to it, though it procured him the diploma of citizenship of Vienna. As reasons for the inferiority of this composition may be a.s.signed the very short time allowed him for the work, and the "barbarous text," from which his imagination could not derive a single spark of inspiration.[47] With respect to the latter, several curious scenes took place with the author, who was so hampered by the composer, that at last he was glad to relinquish the task of polishing to another. This Cantata was performed, together with the Battle of Vittoria and the A major Symphony, on the 29th of November, in the presence of the foreign sovereigns, some of whom made handsome presents to the composer.

Those memorable winter months at the end of 1814, and the commencement of 1815, were important to Beethoven in another respect. Numbers of the distinguished foreign visitors thronged to him to pay him their homage, and it was more especially at the parties of the Russian amba.s.sador, Prince Rasumowsky, that the sovereign of the realm of harmony was accustomed to receive this. It is well known that the testimonies of warm esteem paid to Beethoven in the apartments of the Archduke Rudolph, by the highest personages who sought him there, were equally cordial and affecting. An interview of this kind with the Empress of Russia was particularly interesting, and Beethoven could not call it to mind without emotion. He used afterwards to relate, jocosely, how he had suffered the crowned heads to pay court to him, and what an air of importance he had at such times a.s.sumed. How differently, alas! did he fare ten years later! It was a new world, as it were, in which we all lived ten years afterwards in Vienna, where but one name--the name of Rossini--was destined to be thought of any value.

These extraordinary tokens of favour, conferred about that time on our Beethoven, made no change whatever in him: he continued to be just what he was before--Beethoven. In the spring of 1815 he gave several public performances of his A major Symphony, which had puzzled certain reviewers abroad as well as at home, to such a degree, that some of them went so far as to declare that "the extravagances of his genius had reached the _ne plus ultra_, and that Beethoven was now quite ripe for the mad-house." Oh! the pitiful creatures! It is much to be regretted that there should have been among them professional men, who sought in every possible way to mortify Beethoven, who themselves would fain have scaled Parna.s.sus by force, and had scarcely ascended a few steps before they were seized with dizziness and tumbled backward to the bottom. One of these egotists, after a fall of this kind, cringed and bowed down to the very dust before Beethoven, beseeching that he would a.s.sist him to rise again, but it was too late.[48]

From this brief intimation, the reader may infer that, notwithstanding the gigantic greatness to which Beethoven had then attained, he was pursued by envy and hatred, though he turned out of every one's way, and ceased to hold intercourse with any of his professional brethren. He perceived but too clearly that all these gentry felt humbled and uncomfortable in his presence. Even M. Kanne, with whom he had most a.s.sociated in early years, and to whose eminent talents he always paid the highest respect, was not oftener than twice or three times a-year in his company.

In the summer of 1815, Beethoven occupied himself exclusively with the composition, or instrumentation, of the "Scotch Songs," for Mr. George Thompson, of Edinburgh, the collector of national songs, who paid him a considerable sum for the work, as is evident from the correspondence.

How many of these Scotch songs Beethoven set to music it was not possible for me to ascertain; but I believe that not near all of them have been published.

In the autumn of 1815, died his elder brother Carl, who held the office of cashier in the national bank of Austria. With the death of this brother commenced a new epoch for our Beethoven, an epoch of incidents and facts difficult to relate; and, could I here lay down my pen and leave the continuation of my work to another, I should feel myself truly happy. Here begins a most painful situation for the biographer who adopts this motto: "Do justice to the dead, and spare the living: with the former fulfil the desire of the deceased; with the latter, do the duty of the Christian, and leave Him who is above to judge."

To evade this dilemma is utterly impossible: it would be the same thing as to close here at once the biography of Beethoven, which the whole musical world desires to have as complete as possible, and which from this time acquires a higher interest; for not only is Beethoven brought, for the first time, by a conflict of circ.u.mstances, into closer contact with civil life, and binds up the rod for scourging his own back, but, through these new conflicts, the moral man Beethoven first gains occasion to show himself in all his energy, and even momentarily to outweigh the creative genius.

The value of that brother Carl, while living, to Beethoven we have several times had occasion to show. Whether it might not have been desirable for his creative genius, as well as for his peace with the world, that this brother had died many years earlier, I will not pretend to decide, but shall merely a.s.sert, that he ought not, on many accounts, to have died before Beethoven, as he left him burdens that could not fail to crush him but too speedily. In his will, dated November 14, 1815, Carl van Beethoven begged his brother Ludwig to take upon himself the guardianship of the son whom he left behind. How our Beethoven fulfilled this request will be shown in the sequel.

In a letter of the 22nd of November, 1815,[49] to M. Ries, Beethoven himself mentions the death of this brother, adding, "And I cannot estimate what I have given him to render his life more comfortable at less than 10,000 florins" (10,000 francs)--by which Beethoven cannot possibly mean all that he had given to his brother during his whole life, for that he was himself least capable of calculating. In the same letter he says, "He"--namely, his deceased brother,--"had a bad wife;"

and if he had added, "both had a son who is now to be my son," he would have comprehended in one sentence the sources of the severest affliction of his future life.

At the death of his father, Beethoven's nephew was about eight years old, a handsome boy, the quality of whose mind also authorised great hopes. Perceiving this, and considering, on the other hand, what would become of him if he continued with his mother, he resolved to adopt him as his son.[50] But, as the boy's mother protested against this, while Beethoven persevered in his resolution, supporting himself upon the last will of his brother, the matter led to a lawsuit, the proceedings in which were commenced by the widow.

Before I continue the narrative of this unhappy transaction, it is necessary to mention another unpleasant circ.u.mstance relating to our master. Precisely at the time when Beethoven's young nephew became the bone of contention between his mother and his uncle, the interests of music in Vienna suffered severely through the failure of Prince Lobkowitz. This n.o.bleman, who had become lessee of the Imperial Court Theatre--not for the sake of lucre, but out of genuine love to the arts--carried his zeal for all that is sublime and beautiful too far, and was obliged suddenly to stop. Owing to this circ.u.mstance, Beethoven lost the portion contributed by the prince to the pension settled upon him in 1809; and, as for any rest.i.tution, that was wholly out the question. Thus we see that the amount of that pension, reduced to one-fifth by the finance-patent in 1811, was now still further diminished.

At the time when the suit in question commenced (1816) Beethoven was engaged in setting up a household establishment of his own, which appeared to him to be indispensably necessary if he meant to keep his nephew, una.s.sailed by the world, under his own care. Upon this prosaic business, so incongruous with all his habits, he fell to work, as he did upon everything else, earnestly and zealously. By way of intermezzo, I shall just introduce a little specimen of the manner in which he set about it. He seems to have made his first inquiries of a person conversant with housekeeping: a paper, containing on the left Beethoven's questions, and on the right the answers to them, written in masculine hand, is an interesting doc.u.ment of his spirit of enterprise.

He asks, for instance:--

"1. What is a proper allowance for two servants for dinner and supper, both as to quality and quant.i.ty?"

On the right-hand side is given the answer, in most minute detail.

"2. How often should one give them meat?--Ought they to have it both at dinner and supper?

"3. Do the servants take their meals off the victuals cooked for the master, or have they their own separately: that is, have they different victuals from what the master has?

"4. How many pounds of butchers' meat are allowed for three persons?"

In this way the new housekeeper proceeds, and we discover in it a pleasing proof of his humanity.

The suit between Beethoven and his sister-in-law was carried before the court of n.o.bles, the _Landrecht_ of Lower Austria; the complaint was heard, and the proceedings were continued for a considerable time. The notion that the _van_ prefixed to Beethoven's name was, like the German _von_, an indication of n.o.ble birth, seems to have been current in Austria from ancient times; the court, therefore, required no further evidence on that point. This suit did not hinge upon a point of law, a matter of _meum_ and _tuum_, but Beethoven had to prove that his sister-in-law was an immoral woman, and consequently unfit to bring up her son. From the preceding part of this biography we have learned sufficient of his moral character, and likewise of his temper, to conceive how painful was the task which the necessity of furnishing evidence to this effect imposed upon our Beethoven--upon him to whom anything doubtful and equivocal in morals and character was so disgusting in any person that he could not bear to hear that person mentioned, and still less suffer him to come near him; and now, in order to rescue a child from certain perdition, to be compelled to expose in a court of justice the life led by one so nearly related to himself! The agitation in which he was kept for a long time by this circ.u.mstance deprived him of all equanimity; and had he not been absolutely forced to work, in order to support himself and his nephew, who had been provisionally given up to him on the part of the court, we should not have seen one great work produced by him during that inauspicious period; for even the 8th Symphony, which was performed for the first time in 1817, was fortunately conceived and partly composed before the commencement of that lawsuit.

In the course of the legal proceedings, which had already lasted a considerable time, it was intimated to the court that the word _van_, of Dutch origin, does not enn.o.ble the family to whose name it is prefixed, according to the laws of Holland; that, in the province of the Rhine, in which Beethoven was born, it was held to be of no higher value; that, consequently, the halo of n.o.bility ought to be stripped from this _van_ in Austria also. Beethoven was accordingly required to produce proofs of his n.o.bility. "My n.o.bility," he exclaimed, with emphasis, "is here and here!" pointing to his breast and his head: but the court refused to allow the validity of the claim, and transferred the acts to the city magistracy of Vienna, as the proper court for commoners--after it had, however, by decision in the first instance, already acknowledged Beethoven's guardianship over his nephew.

This procedure, the transfer of the acts to the civil tribunal, though perfectly according to law, drove Beethoven beside himself; for he considered it as the grossest insult that he had ever received, and as an unjustifiable depreciation and humiliation of the artist--an impression too deep to be ever erased from his mind. But for his advocate,[51] who strove, with the affection of a friend, to allay his resentment on account of a resolution in exact accordance with the law, Beethoven would have quitted the country.

Just at the moment when the deeply-mortified master was indulging the hope that this suit, which had already lasted for some years, and occasioned him so much vexation and loss of time (during which time his nephew had been pa.s.sed from hand to hand, and the system of instruction and education been changed as often as his coat), would soon be definitively terminated, the magistracy of Vienna reversed the decision of the tribunal of the n.o.bles, and appointed Beethoven's sister-in-law guardian of her son. The consequence was that the suit was commenced afresh, and it was only after repeated unpleasant discussions, and through the indefatigable exertions of his advocate, that it was brought to a close in the year 1820; the Court of Appeal having confirmed the first decision of the _Landrecht_ of Lower Austria. From Beethoven's memorial to the Court of Appeal, dated January 7th, 1820, which was written by himself, and the original of which lies before me,[52] I extract the following characteristic pa.s.sage:--

"My wishes and my efforts have no other aim than that the boy may receive the best possible education, as his capacity authorises the indulgence of the fairest hopes, and that the expectation which his father built upon my fraternal love may be fulfilled. The shoot is still flexible, but, if more time be wasted, it will grow crooked for want of the training hand of the gardener; and upright bearing, intellect, and character will be lost for ever. I know not a more sacred duty than the superintendence of the education and formation of a child. The duty of guardianship can only consist in this--to appreciate what is good and to take such measures as are conformable with the object in view; then only has it devoted its zealous attention to the welfare of its ward: but in obstructing what is good it has ever neglected its duty."

Amidst these troubles, Beethoven needed other supporters besides his friend and legal adviser, Dr. Bach, to cheer him up and to keep him from sinking under them. These tried friends were too much concerned with his professional pursuits, as well as with the transactions of his life, not to be named here. They are M. C. Bernard, the esteemed poet and editor of the "_Wiener Zeitung_;" M. Peters, counsel to Prince Lobkowitz; and M. Oliva, at present professor of German literature in St. Petersburg. It was the second whom the Court of Appeal appointed co-guardian with Beethoven, at the special desire of the latter, on the ground of his deafness.

As it has been already observed, the boy, the object of this long dispute, had, during the course of it frequently to change his home, studies, and whole plan of education. Sometimes he was with his uncle, sometimes with his mother, and at others again at some school. But, notwithstanding this incessant change, his progress in music and in the sciences, especially in philology, was fully adequate to his capacity; and thus it seemed as though Beethoven would one day receive well-merited thanks, and that he would have joy, nothing but joy, over his nephew, in return for the inexpressible afflictions and mortifications which he had undergone during this suit of four years'

continuance, and for the unexampled affection, care, nay even sacrifices, with which he prosecuted his education. Whether this prospect was realised, whether his hopes were accomplished, we shall see hereafter.

Before I again take up the thread of events in Beethoven's life, I think this may not be an unfit place for a cursory notice of the proceedings of a small a.s.sociation, composed of professional men and accomplished amateurs, which, though it was not intimately connected with the events of Beethoven's life, and neither had, nor could have, any influence upon them, yet furnishes occasion for showing in what favour and honour Beethoven's compositions, especially the chamber music, that really inexhaustible mine of the profoundest and most expressive musical poetry, was held by the better portion of the Vienna dilettanti and performers. The task undertaken by this modest society was to execute cla.s.sic music in the chamber style, and Beethoven's in preference, before a small circle of auditors, capable of relishing its beauties. M.