Life of Beethoven Part 6

Avec le plus haut estime,

Votre ami et serviteur,

"BEETHOVEN."

A French translation of this letter was sent to Cherubini, but he returned no answer.

THIRD PERIOD.

TILL HIS DEATH IN 1827.

PART II.

Vindication of the Court of Austria from the charge of neglecting Beethoven--His quarrel with a Publisher at Vienna--Mortification arising from his Deafness--Wretched Lodging--Beethoven undertakes to write a new Opera, but is deterred by the prospect of coming in contact with German Singers--His ninth Symphony--Letter from the Archduke Rudolph--Italian Opera at Vienna--Flattering Memorial addressed to Beethoven--Concerts--His discourtesy to Vocal Performers--His credulity and hasty condemnation of his Friends--Is invited to visit England by the Philharmonic Society--Disgraceful conduct of Prince Nicholas von Galitzin--Severe illness--He sets aside a Fund as a Provision for his Nephew--Ingrat.i.tude and Misbehaviour of that Youth--Distressing circ.u.mstances in which he was involved by him--Beethoven's forlorn Situation--His last Illness--His letters to Moscheles--He is a.s.sisted by the Philharmonic Society--Total value of his Property--His Death--Post-mortem Examination.

The court of Austria has very frequently been reproached by admirers of Beethoven's with having never done anything for him. The charge is true: but, if we examine this point more closely, and search for the motives, we shall perhaps find some that may excuse the imperial court for this backwardness.

We have already shown in the second period, when treating of the _Sinfonia eroica_, what were Beethoven's political sentiments. There needs, then, no further explanation to enable the reader to draw the certain conclusion, that a man, in whose head so thoroughly republican a spirit had established itself, could not feel comfortable in the vicinity of a court, and that this would not do anything to serve him.

This is quite enough to elucidate in the clearest manner Beethoven's position in regard to the imperial court. Had not the Archduke Rudolph cherished such an enthusiastic fondness for music, and had not his spirit harmonized so entirely with Beethoven's and with his whole nature, he would have fled from him as he did from the whole court. The only exception was the Archduke Charles, the victor of Aspern, whom Beethoven always mentioned with veneration, as he knew to a certainty how well the ill.u.s.trious hero could appreciate him; and this prince alone had admittance to his brother the Archduke Rudolph, when Beethoven was with him. This liberal patron of arts and artists, who united the purest humanity with the warmest attachment to his great instructor, probably adopted this precaution for the purpose of avoiding any collision with other members of the imperial family,[62] The excellent Count Moritz von Lichnowsky tried for a long time in vain to produce a change in Beethoven's sentiments on this point, till, in 1823, his efforts were, in some degree, successful. In the February of that year, this n.o.ble and indefatigable friend proposed to Count Moritz von Dietrichstein, at that time director of music to the court, that Beethoven should be commissioned to compose a Ma.s.s for His Majesty the Emperor, hoping by this expedient to bring the master nearer to the court, and, as it were, to reconcile it with him. Count von Dietrichstein, a profound connoisseur, immediately acceded to the suggestion, and I am enabled to communicate the results from the correspondence which took place between the two counts and Beethoven on the subject.

In a letter, dated the 23rd of February, from Count Dietrichstein to Count Lichnowsky, he writes, among other things, as follows:--

"Dear Friend,

" ...I here send you also the score of a Ma.s.s, by Reutter, which Beethoven wished to see. It is true that His Majesty the Emperor is fond of this style; but Beethoven, if he writes a Ma.s.s, need not stick to that. Let him follow the impulse of his great genius, and merely attend to the following points:--Not to make the Ma.s.s too long or too difficult in the execution;--to let it be a Tutti-Ma.s.s, and in the vocal parts to introduce only short soprano and alto solos (for which I have two capital singing boys)--but neither tenor, nor ba.s.s, nor organ solos. As to the instruments, he may introduce a violin, or oboe, or clarinet solo, if he likes.

"His Majesty is very fond of fugues, when well executed, but not too long;--the Sanctus, with the Hosanna, as short as possible, in order not to delay the Transubstantiation; and, if I may venture to add, on my own account, the Dona n.o.bis pacem, connected with the Agnus Dei, without any particular break, and kept _soft_; which, in two Ma.s.ses by Handel, (compiled from his Anthems)--in two Ma.s.ses of Naumann's and the Abbe Stadler's--produces a particularly fine effect.

"Such are, briefly, according to my experience, the points to be observed; and I should congratulate myself, the court, and the art, if our great Beethoven would speedily set about the work."

Beethoven accepted this commission with pleasure. Accompanied by Count Lichnowsky, he called forthwith upon Count Dietrichstein, to confer more at large on the subject, and resolved to fall to work immediately; but this was all he did--not a step further could he be induced to stir. It was not any political crotchet that occasioned this stoppage. Frequent indisposition, a complaint of the eyes, and an untoward circ.u.mstance of an unexpected nature, were the causes of his deferring this undertaking.

It was, moreover, just in the next autumn that the ideas of the 9th Symphony began to haunt his brain; and thus it happened that he thought no more of the Ma.s.s for the Emperor.

The unpleasant circ.u.mstance just alluded to arose out of a dispute with a publishing-house at Vienna (not now in existence), which was attended with consequences disagreeable to Beethoven. This house had long entertained the plan of drawing our master so entirely into its interest, that he should bind himself by contract to make over to it exclusively all that he should in future write. At the same time, this firm proposed to enter jointly with him into the publication of his complete works; a proposal which, in my opinion, was most favourable for Beethoven, and would very probably have been accepted, had it not been made dependent on the former plan. A formal scale (the original of which, with marginal remarks in Beethoven's own hand, is in my possession) was, in consequence, laid before him by the firm in question, in which every species of composition, from the Symphony and the Oratorio, down to the Song, was specified, together with the sum which it offered to pay for each. This tarif Beethoven was to sign. He consulted several persons on the subject, and, most of them having dissuaded him from entering into the engagement, he refused to place himself in a dependence so revolting to his whole nature. Why should no other publisher be allowed to adorn his shop with a work of Beethoven's, when the house in question already had so many of them? And why should the great master suffer his hands to be so tied as not to have the chance of getting a larger sum for this or that work from some other quarter? And why, besides, desire to secure a monopoly of the productions of mind?

As then the above plan failed to lead to the wished-for result, the other connected with it, relative to the publication of the collected works, likewise fell to the ground. The firm, in consequence, demanded of Beethoven the speedy repayment of the sum of eight hundred florins, advanced to him just at a time when he was in a very necessitous state, as not a single copy of the new Ma.s.s had yet found a subscriber. Highly indignant at the unfeeling conduct of a man who called himself his friend, and whose business had been for a long period so much indebted to Beethoven, our master directed his friend Dr. Bach to serve that house with a counter-requisition, insisting on its publishing immediately the ma.n.u.scripts which had been for many years in its possession; namely--the first Overture to Fidelio--the Cantata _Der glorreiche Augenblick_ (The Glorious Moment)--and several more; alleging, as a legal ground, that it was important to the mental as well as to the material interest of the author, that the productions of his mind should not be shut up for a series of years under lock and key. The other party replied--"We have bought and paid for those ma.n.u.scripts, consequently they are our property, and we have a right to do what we please with them." Dr. Bach dissuaded Beethoven from carrying the affair into court, for he knew, from the suit with his sister-in-law, what a mischievous effect such judicial proceedings had upon his temper and his professional activity, both of which had already suffered in a high degree. He advised him to dispose of a bank share, in order to discharge the debt due to the publisher; but it was not till after long resistance that Beethoven could be prevailed upon to comply.

I mention this circ.u.mstance, which was one of the most galling occurrences in the life of the great master, for the purpose of showing, at the same time, how highly he prized his artistical freedom and independence. On the other hand, we see his small savings again diminished in consequence of this incident. Shortly before, one share parted with to pay a debt due to a true friend; and now, another to satisfy the house in question--what trials for the temper of one struggling with continual indisposition and annoyance!

In the spring of 1823, Beethoven again took up his quarters in the pleasant village of Hetzendorf, where the Baron von p.r.o.nay a.s.signed to him a suite of apartments in his beautiful villa. Supremely happy as he felt, when, in the first days of his residence there, he explored the n.o.ble park, or overlooked the charming landscape from his windows; yet he soon took a dislike to the place, and for no other reason than because "the Baron, whenever he met him, was continually making too profound obeisances to him." On the 24th of August, he wrote to me that he could not stay there any longer, and requested me to be with him by five o'clock the following morning, to accompany him to Baden, and a.s.sist him to seek lodgings there. I did as he desired; and off he started, with bag and baggage, for Baden, though he had already paid for his lodgings at Hetzendorf for the whole of the summer. His English piano-forte, made by Broadwood, presented to him several years before by Ferdinand Ries, John Cramer, and Sir George Smart, accompanied him in all these peregrinations. At the sale of Beethoven's effects, this instrument was purchased by the court-agent, von Spina, of Vienna, in whose possession it still remains.[63]

At that villa, in Hetzendorf, Beethoven wrote the _Thirty-three Variations on a Waltz by Diabelli_, Op. 120,--a work which amused him exceedingly. At first there were to be but six or seven Variations, for which moderate number Diabelli offered him eighty ducats: but when he fell to work they soon increased to ten; presently to twenty; then to twenty-five; and still he could not stop. Diabelli, who was apprehensive of having too large a volume, when he heard of twenty-five Variations, was at last obliged to accept thirty-three Variations instead of seven, for his eighty ducats. It was about the same sum, that is to say eighty ducats, that Beethoven received for nearly every one of his last Sonatas.

On his return to Vienna, in the autumn of the same year, Beethoven received an invitation from the manager of the court opera-house to conduct his _Fidelio_, which, after a long interval, was again to be represented. The proofs of his unfitness for such a duty, on account of his almost total deafness, furnished by the opening of the Josephstadt theatre in the preceding year, were still before his eyes.

Nevertheless, nothing on earth could dissuade him from accepting this invitation: at his desire I accompanied him to the rehearsal. At the very first movement, the absolute impossibility of proceeding was apparent, for not only did he take the time, either much quicker or much slower than the singers and the orchestra had been accustomed to, but r.e.t.a.r.ded them incessantly. Kapell-meister Umlauf set things to rights as long as it was practicable; but it was high time to tell poor Beethoven plainly--This will not do. But neither M. Duport, the manager, nor M.

Umlauf, had the courage to say so; and when Beethoven perceived a certain embarra.s.sment in every countenance, he motioned me to write down for him what it meant. In a few words I stated the cause, at the same time entreating him to desist, on which he immediately left the orchestra. The melancholy which seized him after this painful incident was not dispelled the whole day, and even at table he uttered not a single word.

Beethoven, after this event, applied repeatedly to the army-surgeon, Smetana, to relieve his complaint, and he actually put him for some time on a course of medicine; but the most impatient patient served the physic as he had always done before. He not unfrequently took in two doses the medicines destined for the whole day; or, he forgot them entirely, when his ideas lifted him above the material world and carried him into loftier regions. How difficult he was to manage in this particular was well known to every medical man who had attended him, and in former years even to von Vehring, physician to the staff, though he durst venture to a.s.sume a certain authority over him.

It was in this year that the Society of the Friends of Music of the Austrian Empire in Vienna sent to our Beethoven the diploma of an honorary member of that society. It is right to observe that this society had already existed ten years, and during that time nominated many native and foreign professional men honorary members, for which reason Beethoven felt hurt that he had not been thought of before. He would, therefore, have sent back the diploma immediately, but suffered himself to be persuaded not to do so, and rather to take it in silence, without returning any answer to the society.

The diploma of honorary member of the Academy of Arts and Sciences of Stockholm had been previously transmitted to him in the autumn of 1822.

Upon the whole, the year 1823 was thronged with incidents in Beethoven's life, the number of which was increased by the following circ.u.mstance:--Beethoven was quartered, by means of his brother Johann, in a dark lodging, fit at best for a shoemaker, and which, because it was cheap, was considered suitable for the "brainowner." But it was not this circ.u.mstance alone that made our master's life uncomfortable: in this lodging he had for his landlord a low-bred man, coa.r.s.e in manners and disposition, who treated him with no more respect than if he had been a day-labourer. This was a miserable abode for Beethoven, who had been accustomed to something so very different; and the winter of 1822-23 might, owing to this fatal situation of the great composer, furnish plenty of matter for tales and humorous pieces. I know of but one cheering event which occurred while he was in that horrid den. In April, 1823, the Countess Schafgotsch, of Warmbrunn in Silesia, brought him his first Ma.s.s, with a new German text, written by M. Scholz, music-director at that place. We were just at dinner. Beethoven quickly opened the ma.n.u.script and ran over a few pages. When he came to _qui tollis_, the tears trickled from his eyes, and he was obliged to desist, saying with the deepest emotion, in reference to the inexpressibly beautiful text:--"Yes, that was precisely my feeling when I wrote this."

This was the first and the last time that I saw him in tears. He was just about to send his second Ma.s.s to the same admirable writer, that he might adapt a German text to that also, when he received intelligence of his death; and I rejoiced exceedingly that I had been in time to inform that excellent man what an effect his work, which I still possess, had produced upon Beethoven.

In the first months of 1823 Beethoven was urged from various quarters to write an Opera, and the manager of the court opera-house was particularly desirous to have one of his composition. From Count Bruhl, intendant of the court theatre at Berlin also, Beethoven received a commission to write an Opera for that house _a tout prix_. Dozens of opera texts were now collected, but he disliked them all; for he proposed to take a subject from the Greek or Roman history, to which objections were made on the absurd ground that those subjects had been already exhausted, and were no longer modern. At last came M. Franz Grillparzer with his Melusina. The subject pleased Beethoven, only he wished to have certain pa.s.sages altered, which Grillparzer readily consented to do.[64] The poet and the composer were agreed upon the princ.i.p.al points of the alterations, and we were rejoicing in the prospect of seeing upon our boards Mademoiselle Henriette Sontag, whom Beethoven proposed to keep particularly in his eye, in the character of Melusina. But how did Beethoven disappoint us all! Annoyed by the recollection of what had happened with his _Fidelio_, he told no one that he had sent Grillparzer's ma.n.u.script to Count Bruhl for his inspection. Of course we knew nothing about it till the Count's answer lay before us. The Count expressed himself much pleased with the poem, and merely remarked that there was a ballet performing at the court theatre of Berlin "which had a distant resemblance to Melusina." This observation, and the prospect of again coming into contact with German opera-singers, discouraged Beethoven to such a degree that he relinquished the idea of writing an Opera, and would not thenceforward listen to anything that might be said on the subject. I must, however, remark here that he was extremely delighted with the performances of the company then at the Italian Opera in Vienna,[65] to which belonged Lablache, Donzelli, Rubini, Paccini, Ambrogi, Ciccimarra; and among the ladies, Fodor-Mainville, Dardanelli, Ekerlin, Sontag, and Ungher; and was so particularly struck with the inspired Caroline Ungher, that he determined to write an Italian opera for that select band of priests and priestesses of Thalia. This design would certainly have been carried into execution in the following year (to which this new work was deferred on account of the already projected ninth Symphony), had not a fatal north wind blown away this and many other fine schemes, which we shall have occasion to notice hereafter.

In November, 1823, Beethoven began to compose the ninth Symphony, for which he brought many sketches from the country to town with him; and in February, 1824, this colossus was completed. It may not be uninteresting here to notice the way in which Beethoven contrived cleverly to introduce Schiller's song, "Freude, schoner Gotterfunken,"

into the fourth movement of the symphony. At that time I was seldom from his side, and could therefore closely observe his struggles with this difficulty. The highly interesting sketches and materials for it, all of which I possess, likewise bear witness to them. One day, when I entered his room, he called out to me,--"I have it! I have it!" holding out to me his sketch-book, where I read these words, "Let us sing the immortal Schiller's song, 'Freude,'" &c., which introduction he afterwards altered to "Friends, not these tones!" This first idea will be found in the engraved fac-simile at the end of the Second Volume.

The recitative of the double-ba.s.s also was not comprehended in his original plan, and was added when he changed the above-mentioned introductory movement; in consequence of which it was necessary to give a different form to almost all that preceded, as the fundamental sentiment of that device required. He had nearly the same process to go through with the melody in the first verse which the ba.s.s-solo has to sing. The sketch-book shows a fourfold alteration, and above each he wrote, according to his practice, "Meilleur," as may be seen in the engraved fac-simile, No. II.[66]

In this, as the proper place for it, I shall introduce a correct copy of an autograph letter from the Archduke Rudolph to Beethoven, which serves to show the friendly relations subsisting between master and scholar.

"_Vienna, July 31st, 1823._"

"Dear Beethoven,--I shall be back again in Vienna on the 5th of August, and shall stay there for some days. I hope that your health will then permit you to come to town. In the afternoon from four till seven I am generally at home.

"My brother-in-law, Prince Anton,[67] has already written to me that the King of Saxony is expecting your beautiful Ma.s.s.

"As for D****r, I have spoken about him to our most gracious Sovereign, as well as to Count Dietrichstein. Whether this recommendation may prove serviceable I cannot tell, as there will be a compet.i.tion for that appointment, at which each of the candidates must furnish proofs of his abilities. I should be very glad if I could render a service to this clever man, whom I heard with pleasure playing the organ last Monday at Baden, and the more so, inasmuch as I am convinced that you would not recommend an unworthy person.

"I hope that you have written your Canon; and beg you, if your health would suffer by coming to town, not to exert yourself too early, out of attachment to me.[68]

"Your sincere Friend and Scholar,

"RUDOLPH."

SUPPLEMENT

TO VOLUME I.

No. I.

_Letters from Beethoven to Kappellmeister Hofmeister and C. F.

Peters, Music Publishers, relative to the Sale of some of his Compositions._[69]

The many attacks which have recently been made on the copyright of works by L. van Beethoven, which are my property, induce me to give a list of the compositions purchased from that author, which are the legitimate property of my house; namely:--