Full text of "Beethoven's letters;"

See other formats

LIBRARY OF
WtLLESLEY COLLEGE

PURCHASED FROM

HORSPOED FUITD

Ife8l3

THE LETTERS

LUDWIG VAN BEETHOVEN

BEETHOVEN'S LETTERS

A CRITICAL EDITION

WITH EXPLANATORY NOTES

DR. A. C. KALISCHER

TRANSLATED WITH PREFACE

J. S. SHEDLOCK, B.A.

vol. <m^wmm^mm one

3*°

MCMIX

LONDON
J. M. DENT 4P CO.

NEW YORK : E. P. DUTTON fc? CO.

lHr

lr)Z\d>\

PREFACE TO GERMAN EDITION

It is my first duty to explain the title " Beethoven's Complete
Letters," which I have chosen. By that is naturally not
meant that all letters penned by the immortal master are
contained in my edition. Such a thing is a sheer impossi-
bility. But, first of all, it contains all letters which have
appeared in book form in Beethoven literature — whether in
biographies, in special collections of letters, or in writings
connected with the history of Beethoven.

In addition, there are many new letters printed here for
the first time, some of exceptional length ; and they show
the composer to us under new aspects. The edition is a
critical one. By that I mean that it was my chief aim to
see that the text was pure. For that purpose it was necessary
to consult as many original letters as possible, a task on
which I have been engaged for a good twenty years. During
that time I have examined over 600 autograph letters and
compared them with printed editions, and then made cor-
rections. Taking everything into account : style, grammar,
orthography, and punctuation — I have the astounding
declaration to make, viz., that of all the editors of Beethoven
letters, none has reproduced quite correctly any of the original
letters which I have examined. Of all editors, likewise
copyists of Beethoven letters, Anton Schindler and Otto
Jahn were the most careful. In the preparation of a critical
edition, the great collection of letters of Beethoven copied by
Otto Jahn, is of immense advantage.

Of this collection, containing about 400 letters, from which
already I published many unknown ones in my " Neue
Beethovenbriefe," I made full use in preparing this edition,
and I have to thank Prof. Dr. A. Kopfermann, chief librarian
of the Royal Library at Berlin for his constant courtesy.

Beethoven is an original composer, and no less an original
letter-writer. To most readers many of the letters without
commentary and explanation would be enigmas. In an
edition of the letters, it therefore appears indispensable to

vi PREFACE TO GERMAN EDITION

furnish explanations of the contents, and of many enigmatical
sentences contained in them. Only one who is intimately
acquainted with all sides of the incomparable existence of
Beethoven can safely and successfully undertake such a
task ; and in this matter critics have bestowed high praise
on my previous publications of letters by Beethoven.

After two paragraphs in which Dr. Kalischer describes various
peculiarities in Beethoven's spelling and punctuation, he mentions
the ready assistance received from the Royal Library, Berlin (Pro-
fessor A. Kopfermann), the Court Library (Dr. Joseph Mantuani),
the Gesellschaft der Musikfreunde (Professor E. Mandyczewski),
and the Stadtbibliothek (Dr. H. Kosch) at Vienna ; from the heads
of the firms of Breitkopf and Haertel and Peters at Leipzig, and
B. Schott and Sons at Mainz ; also from Drs. L. Hirschberg, Erich
Prieger, H. Volkmann, Mr. Edward Speyer and other gentlemen.
Details respecting the services rendered by the above named firms
and private owners will be found throughout the two volumes.

PREFACE

4' This appears to be the special task of biography : to present
the man in relation to his times, and to show how far as a
whole they are opposed to him, in how far they are favourable
to him, and how, if he be an artist, poet, or writer, he reflects
them outwardly." Thus wrote Goethe in his " Wahrheit
und Dichtung," and as regards Beethoven, his letters offer
a unique biography, for studying the man in relation to his
times, while such works as the " Eroica " and " Choral "
symphonies certainly reflect them outwardly. We also see
clearly from his letters how deeply he was affected by the
times. He did not suddenly decide to write a work and
dedicate it to Napoleon, for that was his original intention
with respect to the " Eroica " nor did he suddenly think
that Schiller's " Ode to Joy " would be a fine poem to set
to music ; but the one work was the outcome of strong
sympathy with the man whom he thought was about to
establish a republican millennium, the other of ardent desire
for peace and goodwill to reign upon earth. Reichardt tells
us of the ideals after which men were aiming at the end of
the eighteenth century. The victories of the republican
armies specially impressed Beethoven soon after his arrival
in Vienna, for his native country suffered thereby, while
the " Ode to Joy " of Schiller, though the setting was a late
one, occupied his thoughts from a very early period. Of
the horrors of war he had personal experience. In 1801 we
find him taking part in a concert for the benefit of the wounded
Austrian soldiers at the battle of Hainau ; in 1805, Vienna
was occupied by French troops, and again in 1809 the city
of Vienna was bombarded and then occupied by Napoleon.
The events of 1805 were unfavourable to the success of his
opera Fidelio, while those of 1 809 greatly worried him . " What
a disturbing, wild life all around me, nothing but drums,
cannons, men, misery of all sorts." So he writes in a graphic
letter to his publishers, Breitkopf and Haertel (July 26, 1809).
How far these and other events may have interfered with

viii PREFACE

his art-creations, is difficult to determine ; but the great works
which he produced were surely in part owing to the excite-
ment of those times. Had Beethoven lived a quiet, peaceful
life such as that of Haydn at Esterhaz, it is very doubtful
whether we should now possess the Eroica, C minor and
the later Symphonies.

Much could be said about Beethoven and the times in
which he lived, and many quotations could be given from the
Letters, but for the moment we wish to say something
about them as showing what kind of a man he was. In these
Letters we get at the very heart of the composer, and his
thoughts and feelings are expressed in strong characteristic
terms, yet quite naturally. From their general character
one is convinced that Beethoven had absolutely no thought
of their ever being published. For the most part, they are
anything but models of style, yet, and not unfrequently,
there are sentences which seem, as it were, inspired. A
few have been often quoted. Here is one less familiar. In
Letter DCXLI he writes to his friend and helper, Nanette
Streicher, who is at Baden, " If you go to the old ruins,
think that Beethoven stopped there ; if you wander through
the mysterious fir-forests, think it was there Beethoven
often poetised, or, as it is called, composed."

By reading Berlioz's " Memoires " one gets a very good
idea both of the man and the musician ; of his likes and
dislikes, of his excitability and at times of his despondency,
of his high ideals, of his outspokenness, and of his art career
generally. Berlioz had a powerful pen, and drew a strong
picture of himself. Yet there is a literary polish about the
whole thing : while writing, Berlioz had the public in mind.
Therein lies the difference between his Memoires and the
Letters of Beethoven. Setting aside the dedication letter
to the Prince Elector of Cologne, in which his father no
doubt had the larger share, the rest of the correspondence
gives a natural picture of the man. Many, nay, probably
most, were written in a great hurry ; in der Eile was the
composer's usual ending to his letters, and of haste the letters
bear many traces : the same words are constantly repeated ;
the structure of the sentences is frequently very loose, and
at times it is indeed, hard to find out what he meant. For
punctuation he cared little. With him, the comma did
duty for comma, semicolon, also full stop. At times, indeed,
he hurries on to a fresh sentence without any kind of stop,
and does not even trouble to begin the new one with a capital

PREFACE ix

letter. Nouns, which in German always begin with a capital,
seldom have it, and on the other hand, words not needing
one have one. Again, there is constant confusion with the
pronouns sie, ihr and ihnen, which seldom have a capital,
initial letter when such is required. Another proof of haste
will be found in the spelling of proper names ; very few
of them are correct. They have been left in the Letters
as he wrote them. It is a characteristic feature which I
felt ought to be represented. It is curious to note that in a
letter to Schindler, he says, " but you are a bad speller."
And, finally, hurry is shown in his handwriting, which often
puzzled even Jahn, Schindler, Nohl, and others who had seen
and studied very many of the composer's autograph letters.
In informing Neate of the conditions on which he would
accept a proposal of the Philharmonic Society, he states that
he got some one to write the letter, so that " it might be easier
to read." And in a letter to Streicher he describes how one
day at the post office he handed in a letter, and was asked
by the official whither it was to be sent. And he adds that
he himself, like his writing, is often misunderstood.

The Letters, then, offer a true reflection of the man. His
words only express the state of his feelings at certain times, and
in reading the letters this must ever be borne in mind. The
scene with Steffer Breuning {see Letter LXXXIV) offers a
case in point : the composer was angry, and on Steffen he
poured the vials of his wrath ; but this must be compared
with the letter of reconciliation (No. XCIV). Another
outburst of anger, for which, however, Beethoven seemed
to have just cause, was with Artaria about the Quintet
{see Letter LX). Artaria was a " rascal " — a favourite
word with the composer — of the first water, yet, and to his
cost, Beethoven afterwards learnt that he had been some-
what hasty in his judgment ; and soon after we find him
doing business with the " rascally " firm.

There is, however, no doubt that Beethoven loved truth
and justice, and that at heart he was one of the kindest of
men. To understand his true character, these outbursts,
while they show the impressionable nature of the man, must
not be taken as normal specimens. Many and many a
letter might be adduced in favour of his noble-mindedness,
of his contempt for all that was mean and wicked. And his
charity was great. He was always ready to benefit " suffering
humanity."

From many of Beethoven's works one can j perceive that

x PREFACE

he was a man of varied moods, also of sudden changes of
mood. In one letter we find him speaking of a person in the
most friendly manner, while in another no words are too
strong to condemn that same person. Such was the case
notably with his friend and benefactor, the Archduke
Rudolph. So these letters seem to contain a mass of
contradictions. But on closer examination one finds that
Beethoven's feelings were at times so strong that he seemed
incapable of listening to reason. He felt he had been badly
treated, and nothing would for the time being convince him
that his view of the matter was wrong. But if his anger
was great, his apology afterwards was equally so ; in
fact, both the one and the other were exaggerated. In
speaking of Clive, Lord Macaulay remarked that exceptional
men must not be judged by ordinary standards. And
never more necessary is it to bear this in mind than when
studying Beethoven's character. He was a perfectly sincere
man : his moods were not assumed, but genuine ; and in
judging any of his statements one has to consider under
what circumstances they were made. When Fidelio was
revived in 1806 there seemed a chance of Beethoven's win-
ning both fame and fortune, but he fancied he was being
swindled, and withdrew his score after the third performance.
Then for Schindler, who was Beethoven's Boswell, at one
time no words could express Beethoven's contempt for him,
but we find this was only a momentary explosion of anger ;
the clouds rolled by, and friendship was restored.

Letters to v. Zmeskall and Nanette Streicher offer sub-
stantial proof that Beethoven did not know himself ; for
more than once in his letters he declares that he disliked giving
trouble to other people. Yet Zmeskall was constantly
helping, for he well knew that Beethoven was a genius ;
while Nanette Streicher was indeed a good Samaritan,
forj she saw in what a deplorable state the composer was
in all household matters. The letters to Zmeskall when
Beethoven wanted fresh quills, or a looking-glass, or a
hat changed on account of a slit in it, are at any rate most
amusing, whereas those to Streicher are one long jeremiad
about servants, dusters, tin spoons, scissors, neckties, stays,
&c. And in reading them, one cannot but marvel at the
man who, while worried by servants and having to look
after trivial matters, could compose works which now afford
the highest rapture. For some of his worries he blamed
the Austrian Government, as, for instance, when he found

PREFACE xi

it difficult to get an honest servant ; or when the chimney
in his room smoked.

Beethoven, like Mozart, was not in the habit of writing
much about his art, yet there are some striking thoughts
and comments in these letters. In one (No. DCLXIII),
for instance, he speaks of Allegro, Andante, &c, those
** senseless terms," in that the music often expresses some-
thing quite contrary to them. Beethoven, in another,
declares it the duty of composers to be generally acquainted
with ancient and modern poets, so as, for vocal music, to be
able to choose the best. And here is a remarkable sentence.
Beethoven is writing to his friend Andreas Streicher (Letter
MXXVII.) about the Missa Solemnis, and he says that in
writing this great work " it was my chief aim to awaken,
and to render lasting, religious feeling as well in the singers
as in the hearers." In similar spirit, Handel, speaking of
The Messiah, said : "I should be sorry if I only entertained
them [i.e., the audience], I wish to make them better." And
one more specimen referring to the redundant bars in the
Scherzo of the C minor Symphony : " You [Breitkopf and
Haertel] will receive to-morrow a list of small improvements
which I made during the performance of the symphonies —
when I gave them to you I had not heard a note of either.
One must not pretend to be so divine as not to make im-
provements here and there in one's creations." And once
again, in a letter to the Archduke Rudolph referring to the
bad state of his health, he regrets " that for only a few hours
in the day can I give myself up to Heaven's noblest gift,
my art, and to the Muses."

The references to great composers are most interesting.
Our composer's veneration for Bach and Handel was great ;
of the ancients, indeed, he declared in a letter to the Archduke
Rudolph, that they alone possessed genius. He made
early acquaintance with Bach's clavier music, for before he
was twelve years of age his teacher Neefe sent a notice to
Cramer's Magazin about his talented pupil who " played the
greater part of Bach's well-tempered Clavier. " Then there
is the Letter (No. XL) to Hofmeister, in which Beethoven
speaks of the high art of Bach, " the forefather of harmony,"
and one to Breitkopf and Haertel, April 8, 1803, in which
he thanks them for the beautiful things of Bach which
" I intend to keep and study." A reference to the Mass in
B minor deserves particular note. It occurs in a letter to
Breitkopf and Haertel (No. CCXXVI) in which he asks for

xii PREFACE

all the works of Carl Ph. Em. Bach, also " a Mass of J.
Sebastian Bach in which is a Crucifixus with a Basso os-
ünato," and of which he quotes the first four bars ; it is the
Crucifixus from the Hohe Messe in B minor. Again, Dr. Bach
was the barrister who helped Beethoven in the lawsuits
connected with the Kinsky estate, and with the guardian-
ship of the nephew. In one letter to him, the composer
writes the letters of J. S. Bach's name in musical notes.

Great, too, was his admiration of Handel. Of several
references to this composer I give a special one. The genuine
joy which he felt when Stumpff, the harp manufacturer,
sent him the edition of Handel's works, has been often
spoken of. These volumes came, however, too late for use ;
the composer was then on his death-bed. But he had
among his music, Handel's Harpsichord Suites, and then in
a letter to Breitkopf and Haertel we learn of his having a
copy of The Messiah, for before the bombardment of Vienna
by Napoleon in 1809, he had gatherings at his rooms for the
practising of choral works.

The letter to Abbe Stadler re the Mozart " Requiem "
shows how he respected that composer. There are, also,
references to Don Giovanni and to the Magic Flute
which prove that, whatever he may have thought of the
morality, or rather immorality of the book of the former
opera, he fully appreciated the music. The second opera
furnished him with nick-names for his depraved sister-in-
law, also for Schindler : the one was Queen of Night, while
the other was surnamed Papageno. Haydn is spoken of in
a way which shows at any rate, that in spite of all the natural
antagonism between the old and the rising master, they
were on a friendly footing. When Beethoven wrote (Letter
CXLI) to Prince Esterhazy that he should, with much fear
and trembling, send him his Mass in C, seeing that " you,
most serene prince, are accustomed to hear the inimitable
masterpieces of the great Haydn," he was, perhaps, smiling
in his sleeve. Of Handel, Haydn and Mozart, in the charming
letter to Emilie (Letter CCXCV) he says : "Do not snatch
the laurel wreaths from them ; they are entitled to them,
as yet I am not."

A fragment of a letter from Weber is given re performance
of Fidelio under his direction. And not only is it a
fragment, but unfortunately all that remains of a " lively
correspondence ' ' between the two composers. Let us hope that
documents of such great interest will one day be discovered.

PREFACE xiii

Haydn and Schubert took great interest in folk melodies,
and made frequent use of them in their works. So with
Beethoven. The theme in the fifth movement of the Septet,
according to Ries, is a Rhenish folk melody, and the Trio of
the Presto of the Seventh Symphony appears to be an Austrian
Hymn to the Virgin ; moreover there are the Russian national
melodies introduced into the " Rasoumoffsky " Quartets.
In the Letters we have further proof of Beethoven's interest
in such music. In a letter to George Thomson, in referring
to the Scottish nation, he speaks of " le genie de ses chansons."
But in Letter DCCCIV are given two Austrian folk-songs,
music and words. The first, " Das liebe Käzchen " appears
to have been in the composer's mind when he wrote the
Allegro molto of the pianoforte Sonata in A flat (Op. 110).
The second is entitled " Der Knabe auf dem Berge." Beet-
hoven sent them to Simrock, and says, " the accompaniment
is my own ; " then he adds, " you could have many things of
the kind from me." It is not at all unlikely that other folk-
tunes than those known may still be traced in his works.

Beethoven was a great reader. The only regular in-
struction he received was at a public school at Bonn, but
this ceased when he was thirteen. It was at the house
of the Breunings that he became acquainted not only
with German literature, but most probably with Homer
and Plutarch. Voss's translation of the Odyssey must
have formed part of the library of this highly cultured
family. In one of his letters, speaking of Homer, Beethoven
says, " whom I know, unfortunately, only in translation."
Plutarch's " Lives " was another of Beethoven's favourite
books. This we know from Schindler, and in the letters
there is more than one sign that he was familiar with it.

Of Shakespeare there are only indirect traces in the
Letters ; from what Schindler has told us there is, however,
abundant evidence of his acquaintance with the poet's
works. As regards Goethe, Beethoven says he knew him, i.e.,
his poems, almost from childhood, and here again we trace
the influence of the Breuning family. To Goethe and his
plays and poems there are, of course, many references. The
meeting of the poet and tone-poet at Teplitz was a dis-
appointment on both sides. Goethe pitied Beethoven on
account of his rough manners and deafness, and naturally
the polished courtier was not in sympathy with the com-
poser's radical opinions. The impression which the man
Goethe made on Beethoven is graphically expressed in the

xiv PREFACE

words : " One cannot laugh much at the ridiculous things
that virtuosi do, when poets, who ought to be looked upon
as the principal teachers of the nation, forget everything
else amidst this glitter."

But a word must be said about the Bible. Grove, in his
article says : " It is strange that the Bible does not appear
to have been one of his favourite books," also that references
to it are very rare. There are, however, many signs, some
direct, some indirect, that Beethoven was a Bible reader.
The direct references may be rare, but there are many
sentences which are practically paraphrases of Bible words.
The statement of Grove, viz., that Beethoven's deeply
religious feeling " is shown by many and many a sentence
in his letters," is more than confirmed in the new letters
published in this edition, especially those addressed to the
magistrates in the law-suits respecting the guardianship of
his nephew.

Of puns, and various plays upon words there is abundance,
one might say superabundance. And with regard to these
it is evident that in translation, except in some instances
where equivalent terms have been found, either the idea of
reproducing the pun or play on word, had to be abandoned,
or, as has been done here in other instances, the German
words have been inserted in square brackets. To take a
simple example. Beethoven speaks of a person named
Traeg as traeg, i.e., slow. The mere fact of having to explain
such mild specimens of humour is, of course, fatal, yet as
this punning propensity runs through the whole of the
letters, some attempt had to be made to show it in trans-
lation. Of Beethoven's puns, as one can well imagine, some
were very good, others very bad. He never missed an
opportunity with names of composers. We need not call
attention to familiar jokes, but would note two in
connection with Bach. The composer hears that Anna
Regina Bach, the last surviving child of the great composer,
is in distress, and in writing to Hofmeister expresses the hope
that something may be done for this " brook " before it
dries up. The play upon the word "Bach" is explained in
the notes to that letter. The other is a play upon the basso
ostinato of the Crucifixus in Bach's B minor Mass. Beethoven
tells his publisher Steiner, that this basso resembles him,
i.e., in his obstinacy with regard to terms. He writes to
Ries that he hears J. B. Cramer does not approve of his
(Beethoven's) music, and so calls him a Counter-subject,

PREFACE xv

the Society of Musical Friends (Gesellschaft der Musikfreunde)
is a Society of Fiends, and so on.

Much has been written about Wagner's dogs and love of
animals generally. Of Beethoven the only reference hitherto
as to animals was the story of the horse presented to the
composer by Count Browne. In this edition three letters
are published for the first time in which we hear about dogs.
In the one describing the scene at Artaria's about the Quintet
in C, Beethoven mentions that in the confusion his brother
lost his pet dog ; while in two others (Nos. CXXXIII and
CXXXIV) is an account of " Gigaud " which belonged to
the Gleichensteins, and which followed Beethoven home and
proved a pleasant companion.

By permission of Dr. A. C. Kalischer his notes have been
compressed. Many refer to the German text, to various
readings of the original letters, criticisms of those readings,
all of which, in the absence of the German text, would be
meaningless. Again, Dr. Kalischer often gives a paraphrase
of the contents of letters and in many instances actual
quotations from them. In compressing I have omitted
nothing that seemed of importance. Beethoven's Letters
have, of course, been translated in full.

In conclusion, I have to express my warmest thanks to
Viscount Althorp, Stephen Lewis Courtauld, Esq., Sir George
Donaldson, Dr. Theodor Frimmel, Alfred Morten, Esq.,
George Henschel, Esq., Arthur F. Hill, Esq., Professor Dr.
Knickenberg (Bonn), Mrs. J. A. Fuller Maitland, Dr. Joseph
Mantuani (Vienna), Sir Hubert H. Parry, Dr. Erich Prieger,
Herr Adolf Schlösser, M. Julien Tiersot (Paris) and Miss E. A.
Willmott, for allowing me to copy unpublished letters, and to
publish the facsimiles described in the lists of Illustrations in
vols. i. and ii. I have also to thank the publishers, Herren
Schuster and Loefler and Herren Georg Müller, Munich, for
granting permission to take facsimiles of portraits from
"Die Musik" and from Dr. Th. Frimmel's "Beethoven
Studien," vol. ii. My thanks are likewise due to F. G.
Edwards, Esq., William Barclay Squire, Esq., for kind
assistance, also to Dr. Julius Reusch, whom I consulted with
regard to Austrian dialect words, imperfect, ungrammatical
and obscure sentences.

J. S. Shedlock.

London, 1909.

The miniature reproduced in facsimile by the kind permission of Geo. Henschel, -
Esq., as Frontispiece of vol. i., was identified by Ritter von Breuning as the work
of a young Bonn painter, Gerhard von Kügelgen.

CONTENTS

NO. PAGE

1. Dedication letter to the Prince Elector, Max Friedrich of Cologne, 1 783 1

2. To Dr. von Schaden. Bonn, 15th (Autumn month), 1787 ... 2

3. To Frl. Eleonore von Breuning. Bonn, about 1791 .... 4

4. To the Prince Elector Max Franz at Cologne. Vienna, Spring 1793 . 6

5. To the Composer Johann Schenk. June 1793 7

6. To Frl. Eleonore von Breüning in Bonn. Vienna, November 2, 1793 7

7. To the music publisher N. Simrock in Bonn. Vienna, August 2, 1794 10

8. To Dr. Franz Wegeler in Vienna. Between 1794-1796 ... 11

9. To Brother Nikolaus Johann van Beethoven, Prague, Feb. 19, 1796 12

10. To the LR. Court Secretary N. Zmeskall VON Domanovecz (1796-1798) 14

11. To Baron v. Zmeskall (1796) 15

12. To Dr. F. Wegeler in Bonn. (May 1797) 15

13. To Lenz von Breuning (in his Album). October 1797 . . .16

14. To the Court Secretary von Zmeskall. (1798 ?) 16

15. To the Court Secretary von Zmeskall, (1798) 17

16. To the Court Secretary von Zmeskall. 17

17. To the Court Secretary von Zmeskall 17

18. To the Court Secretary von Zmeskall. 18

19. To the Court Secretary von Zmeskall. 18

20. To the Court Secretary von Zmeskall. (1798 or 1799, perhaps 1802) . 18

21. Dedication of Op. 9 to Count Browne. Vienna, July [20], 1798 . . 19

22. To Baron Zmeskall (March 24, 1799) 20

23. To v. Zmeskall. (1799-1800?) 21

24. To v. Zmeskall. (c. 1799) 21

25. To v. Zmeskall. (c. 1799) 22

26. To v. Zmeskall. (c. 1799) 22

27. To the composer J. N. Hummel. Vienna (c. 1799) .... 23

28. To the composer J. N. Hummel. (A day after) 23

29. To Frl. Gerardi (1798-1799) 24

30 To Frl. von Gerardi (1798 ?) 24

31. To Carl Amenda in Vienna (1799) 25

32. To Carl Amenda in Vienna (1799) 25

33. To Carl Amenda. June 25, 1799 26

34. To Carl Amenda. (April or May 1800) 27

35. To Carl Amenda at Wirben in Courland (Vienna, June 1, 1800) . . 27

36. To Dr. F. Wegeler in Bonn. Vienna, June 29 (1800) . . . .29

37. To the Poet Friedrich von Matthisson. August 4, 1800 ... 33
I xvii A

xvm

NO.

CONTENTS

38. To Dr. F. Wegeler in Bonn. Vienna, November 16 (1800) .

39. To Capellmeister Hofmeister in Leipzig. Vienna, Dec. 15 (1800)

40. To Capellmeister Hofmeister in Leipzig. Vienna, about Jan. 15,1801

41. To Frau Christine von Frank, nee Gerhardi. (End of Jan. 1801)

42. To Capellmeister Hofmeister in Leipzig. Vienna, April 22, 1801

43. To Breitkopf and Haertel in Leipzig. Vienna, April 22, 180

44. To Capellmeister Hofmeister in Leipzig. Vienna, June 180

45. To Countess Giulietta Giucciardi. July (1801 ?)

46. To v. Zmeskall-Domanovecz. (1801 ?)

47. To v. Zmeskall-Domanovecz. (1801-1802 ?)

48. To Ferdinand Ries. (1801) .

49. To Ferdinand Ries. (1801) ....

50. To Ferdinand Ries. (1801) .

51. To Capellmeister Hofmeister in Leipzig. Vienna, April 8, 1802

52. To Breitkopf and Haertel, Leipzig. Vienna (April 22, 1802)

53. To Breitkopf and Haertel. July 13, 1802 ....

54. To Hofmeister and Kühnel in Leipzig. July 14, 1802.

55. For my Brothers Carl and — Beethoven. (Will, Oct. 6, 1802)

56. To Baron v. Zmeskall. (1802 ?)

57. To Breitkopf and Haertel, Leipzig. Vienna (October 18, 1802)

58. To F. Ries in Baden near Vienna. (1802)

59. Notice. (October-November 1802) .

60. To Breitkopf and Haertel, Leipzig. Vienna, November 13, 1802

61. To N. von Zmeskall. (November 1802)

62. To N. von Zmeskall. November 13, 1802 .

63. To Breitkopf and Haertel. Vienna, December 18, 1802

64. To Baron Zmeskall. (1802 ?)

65. To the Lovers of Music. January 22, 1803

66. To Ferd. Ries in Vienna. (Spring 1803)

67. To Ferd. Ries in Vienna. (Spring 1803)

68. To Ferd. Ries in Vienna. (Spring 1803)

69. To Ferd. Ries in Vienna. (Spring 1803)

70. To Breitkopf and Haertel in Leipzig.

71. To Baron Alexander v. Wetzlar. May 18, 1803

72. To the Violinist G. A. P. Bridgetower. (May 1803)

73. To the Violinist G. A. P. Bridgetower.

74. To Breitkopf and Haertel in Leipzig.

75. To Breitkopf and Haertel in Leipzig.

76. To Hofmeister and Kühnel in Leipzig.

Vienna, April 8, 1803

(May 1803) .
(June 1803) .
(September 1803) .
(Vienna, September 22

77. To George Thomson in Edinburgh. Vienna, October 5, 1803

78. Warning. October-November 1803 .....

79. To the Painter Alexander Macco. Vienna, November 2, 1803

80. To Breitkopf and Haertel in Leipzig. Vienna, November 23,
81 To Baroness Dorothea v. Ertmann. (New Year 1804)

82. Information to the Public. Vienna, March 31, 1804

83. To Ferdinand Ries. (Spring 1804)

84. To Ferdinand Ries. (Beginning of July 1804)

1803)

803

CONTENTS

xix

NO.

85.

86.

87.

88.

89.

90.

91.

92.

93.

94.

95.

96.

97.

98.

99.
100.
101.
102.
103.
104.
105.
106.
107.
108.
109.
110.
111.
112.
113.
114.
115.
116.
117.
118.
119.
120.
121.
122.
123.
124.
125.
126.
127.
128.
129.
130.
131.

Baden, July 6, 1804

August 26, 1804

Pour Monsieur Wiedebein a Brunsvic.
To F. KIES. (Beginning of July 1804) .
To F. Hies. " Baaden," July 14, 1804 .
To F. Ries. Baden, July 24, 1804 .
To Breitkopp and Haertel in Leipzig.

To Ferdinand Ries. 1804

To N. Simrock in Bonn. "Vienna, October 4, 1804

To the Painter W. J. Mähler. (1804 ?)

To the Composer M. J. Leidesdorf in Vienna. (1804 ?)

To Stephan von Breuning in Vienna. (1804) .

To Breitkopp and Haertel in Leipzig. Vienna, January 16, 1805

Dedication letter to Prof. Dr. J. A. Schmidt. (Jan. 23 and 30, 1805)

To Breitkopp and Haertel in Leipzig. (March 1805)

To Breitkopp and Haertel in Leipzig. (Vienna, April 18, 1805)

To Artaria and Co. June 1, 1805

To Princess Josephine Liechtenstein. (November 1805)

To the Opera Singer Sebastian Mayer. (November 1805)

Testimonial for C. Czerny. December 7, 1805 .

To the Opera Singer Friedr. Sebastian Mayer. (April 1806)

To the Opera Singer Friedr. Sebastian Mayer. (April 1806

To the Opera Singer Friedr. Sebastian Mayer. (1806 ?) .

To Baron Peter von Braun. (April or May 1806) .

To Count Franz von Brunswick in Hungary. May 11, 1806

To Breitkopp and Haertel in Leipzig. Vienna, July 5, 1806

To Breitkopp and Haertel. Graz, Hay Month (July 3, 1806)

To George Thomson in Edinburgh. October 1, 1806 .

To Breitkopp and Haertel in Leipzig. November 18, 1806

To the I.R. Theatre Direction in Vienna. December 1806 (?)

To Camille Pleyel in Paris. April 26, 1807

To Ignaz Pleyel in Paris. Vienna, April 26 (?), 1807

To Baron Ignatz von Gleichenstein. (1807)

To Herr von Troxler in Vienna. (1807)

To Baron Gleichenstein. (1807)

(1807)

Agreement between Beethoven and Muzio Clementi. April 1S07
To the Poet and Court Secretary Heinrich Collin. (1807 ?)
To the Poet and Court Secretary Heinrich Collin. (1807)
To the Poet and Court Secretary Heinrich Collin. (1807)

To Baron Gleichenstein
To Baron Gleichenstein.
To Baron Gleichenstein,
To Baron Gleichenstein,
To Baron Gleichenstein
To Baron Gleichenstein,
To Baron Gleichenstein
To Baron Gleichenstein

PAGE

100

101

102

104

105

106

108

110

112

114

115

116

117

118

119

120

121

122

123

NO.

132.
133.
134.
135.
136.
137.
138.
139.
140.
141.
142.
143.
144.
145.
146.
147.
148.
149.
150.
151.
152.
153.
154.
155.
156.
157.
158.
159.
160.
161.
162.
163.
164.
165.
166.
167.
168.
169.
170.
171.
172.
173.
174.
175.
176.
177.
178.

CONTENTS

To Baron Gleichenstein. (1807)

To Thekese von Malfatti. (1807)

To I. von Gleichenstein. June 1807

To I. von Gleichenstein. June or July 1807

To Prince Esterhazy. Baden, July 26, 1807

To Baron Gleichenstein ....

To Baron Gleichenstein. (Autumn 1807) .

To N. von Zmeskall. (1808 ?) .

To an unknown Poet. (March 1808)

To Baron I. von Hammer-Pubgstall. 1808

To Baron von Gleichenstein. (Spring 1808)

To v. Gleichenstein. (Spring 1808) .

To v. Gleichenstein. (1808)

To Frau Mabie Bigot, nee Kiene. (Summer 1808)

To the married couple Bigot. (Probably Summer 1808)

Pour Monsieur de Bigot. (1808) ....

To Breitkopp and Haertel, Leipzig. June 8, 1808

To Breitkopf and Haertel. July 16, 1808

To Breitkopf and Haertel. (After July 16, 1808)

To Baron I. von Gleichenstein. (Summer 1808 ?)

To I. v. Gleichenstein. (Summer 1808) .

To I. v. Gleichenstein. (Autumn 1808 ?) .

To Zmeskall v. Domanovecz. (Summer 1808)

To Count Franz von Oppersdorf. November 1, 1088 ( = 1808)

To v. Gleichenstein (?). (1808) .

To the Tenor Singer Roeckel. December 1808

To Breitkopf and Haertel in Leipzig. Vienna, January 7, 1809

To V. Zmeskall-Domanovecz. (c. January 1809)

To v. Zmeskall-Domanovecz. (About the same time 1809)

To Gleichenstein. (Sketch of a musical constitution). Early 1S09

To Breitkopf and Haertel in Leipzig. Vienna, March 4, 1809

To Baron Gleichenstein. (1st quarter 1809)

To Dr. Dorner. (1st quarter 1809)

To I. v. Gleichenstein. (March 1809)

To N. von Zmeskall. (March 7, 1809)

To N. von Zmeskall. (March 1809) .

To Countess Marie v. Erdödy. (Spring 1809)

To Breitkopf and Haertel in Leipzig. March 28, 1809

PAGE

124
124
125
125
126
127
128
129
130
130
132
132
132
133
133
134
135
135
136
137
138
139
141
142
143
144
144
145
146
147
148
149
149
151
152
152
153
154
154
155
155
155
155
156
156
157
158

NO.

179.

180.
181.
182.
183.
184.
185.
186.
187.
188.
189.
190.
191.
192.
193.
194.
195.
196.
197.
198.
199.
200.
201.
202.
203.
204.
205.
206.
207.
208.
209.
210.
211,
212.
213.
214.
215.
216.
217.
218.
219.
220.
221.
222.
223.
224.
225.

CONTENTS

To Brother Johann van Beethoven in Linz. March 28, 1809

To Breitkopf and Haertel in Leipzig. Vienna, April 5, 1809

To Baron Zmeskall. (Spring 1809)

To v. Zmeskall.

To v. Zemskall.

To v. Zmeskall.

20, 1

809

(1809) ....

(April 16, 1809)

(1809) ....

April 14 (?), 1809

(April 17, 1809)

(April 25, 1809)

(Spring 1809) .

(Spring 1809 ?) .
To Count Franz v. Brunswick. (Summer 1809 ?)
To Breitkopp and Haertel in Leipzig. Vienna (June ?)
To Breitkopp and Haertel. (Spring or Summer 1809 ?)
To Baron von Hammer-Purgstall. (Summer 1809) .

To the Librarian Bigot. (1809)

Pour Mr. de Bigot. (1809)

To Breitkopp and Haertel, Leipzig. (July 26, 1809)

To Breitkopp and Haertel. August 3, 1809 .

To Breitkopp and Haertel. August 8, 1809 .

To an unknown Poet [v. Hammer-Purgstall ?]. (1809 ?)

To N. v. Zmeskall. (Summer 1809 ?) .

To Breitkopp and Haertel in Leipzig. September 19, 1

To Breitkopp and Haertel. November 2, 1809

To Ferd. Ries in Vienna. (1809) .

To George Thomson in Edinburgh. Vienna, November 23, 1809

To Breitkopp and Haertel in Leipzig. Vienna, December [4 ?] 1809

To Breitkopp and Haertel. (December 1809?)

To Baron v. Zmeskall. (December 1809 ?)

To Breitkopp and Haertel in Leipzig. Vienna, January 2, 1810

To Baron v. Zmeskall. (January 23, 1810)

To Breitkopp and Haertel, Leipzig. Vienna, February 4, 1810
For Professor VON Loeb. (February 8, 1810) ....

To N. v. Zmeskall. (April 18, 1810)

To N. v. Zmeskall. (April ? 1810)

To N. v. Zmeskall. (SpriDg 1810)

To Dr. F. G. Wegeler. Vienna, May 2, 1810 ....
To Breitkopf and Haertel in Leipzig. Vienna, June 6 (1810)
To Breitkopp and Haertel, Leipzig. Vienna, July 2, 1810 .

To N. v. Zmeskall. (July 9, 1810)

To George Thomson, in Edinburgh. Vienna, July 17, 1810

To Bettina Brentano. Vienna, August 11, 1810

To Breitkopf and Haertel in Leipzig. Baden, August 21, 1810

To Breitkopf and Haertel. August 21, 1810 ....

To Breitkopp and Haertel. Baden, September 23 [1810]

To Breitkopp and Haertel. Baden, October 6, 1810

To Breitkopf and Haertel. October (September?) 11, 1810 •

XXI

PAGE
160

160
161
162
162
162
162
163
163
163
164
165
166
169
170
171
171
172
174
175
176
177
177
178
179
180
181
182
183
183
184
184
187
187
188
188
188
191
192
193
194
195
197
201
204
204
205

XX11

CONTENTS

NO.

226.
227.
228.
229.
230.
231.
232.
233.
234.
235.
236.
237.
238.
239.
240.
241.
242.
243.
244.
245.
246.
247.
248.
249.
250.
251.
252.
253.
254
256.
257.
258.
259.
260.
261.
262.
263.
264.
265.
266.
267.
268.
269.
270.

271.

272.

1811

To Breitkopf and Haertel. October 15, 1810 .

To v. Baumeistek. December 3, 1810 . . . .

To Bettina v. Brentano. Vienna, February 10, 1811

To Breitkopf and Haertel in Leipzig. Vienna, February 19

To the Countess von Erdödy. (March 1811)

To Archduke Rudolph. (March 1811)

To Archduke Rudolph. (Spring 1811)

To Breitkopp and Haertel, Leipzig. Vienna, April (12?) 1811
To Breitkopp and Haertel. Vienna, May 6 (1811) .
To Breitkopp and Haertel. Vienna, May 20 (1811)
To Herr von Baumeister. May 28, 1811 ....
To N. von Zmeskall-Domanovecz. (May 1811)
To the Theatre Poet, Friedrich Treitschke. (June 6, 1811)
To Friedrich von Drieberg. (June 1811)
To Count Franz von Brunswick. Vienna, June 18 (1311)
To the Private Secretary Baumeister. Vienna, July 3, 1811
To Friedrich Treitschke. (July 3, 1811) .
To Count Franz v. Brunswick. (Vienna, July 4, 1811
To Count Ferdinand v. Palpi. (July 11, 1811) .
To George Thomson in Edinburgh. Vienna, July 20, 1811
To Breitkopp and Haertel, Leipzig. (July 1811 ?) .
To N. von Zmeskall. (July-August 1811 ?)
To Breitkopp and Haertel, Leipzig. Töplitz, August 23,
To Archduke Rudolph. (August 1811)
To Tiedge, Dresden. Töplitz, September 6, 1811
To N. v. Zmeskall. (September 10, 1811 ?) .
To Breitkopp and Haertel, Leipzig. Vienna, October 9, 1811
& 255. To Elise von der Recke and Tiedge. Vienna, October 11, 1811

To N. von Zmeskall. October 26, 1811

(October 1811)

1811)

November 20, 1811)

1811?)

October 1811 ?)

1811) ... .

1811

To Archduke Rudolph
To N. von Zmeskall.
To N. von Zmeskall.
To N. von Zmeskall.
To N. von Zmeskall.
To N. von Zmeskall.
To N. von Zmeskall.
To N. von Zmeskall.
To N. von Zmeskall.
To N. von Zmeskall.
To N. von Zmeskall.

1811)

1811?)

January 19, 1812)

To the Poet Augustus von Kotzebue. Vienna, January 28, 1812 .

To Breitkopp and Haertel. Vienna, January 28, 1812 .

To J. Varena, Attorney of the Exchequer at Graz. End of January,

1812

To N. v. Zmeskall. February 2, 1812

To N. v. Zmeskall, (February 8, 1812) ......

PAGE

205
208
208
210
211
211
212
212
213
214
215
216
216
216
217
218
219
219
220
221
222
224
226
226
227
228
229
229
233
234
234
235
235
235
236
236
237
237
237
238
238
239
239

241

242
243

CONTENTS xxiii

NO. PAGE

273. To Varena, Attorney of the Exchequer. February 8, 1812 . . 243

274. To N. V. Zmeskall. (February 1812) 244

275. To N. v. Zmeskall. (February 1812 ?) 244

276. To N. v. Zmeskall. (February 19, 1812) 245

277. To N. v. Zmeskall. (February 20, 1812) • 246

278. To George Thomson in Edinburgh. Vienna, February 29, 1812 . 246

279. To N. v. Zmeskall. (Spring 1812) 248

280. To Private Secretary Baumeister. March 12, 1812 . . . .248

281. To Archduke Rudolph. (March 1812) 249

282. To VARENA, Attorney of the Exchequer, Graz. (March 1812) . . 249

283. To Breitkopp and Haertel, Leipzig. Vienna, April 4, 1812 . . 250

284. To VARENA, Attorney of the Exchequer. (April 1812) . . . .250

285. To Archduke Rudolph. (April 1812) 251

286. To Herr Theodor Körner. April 21, 1812 251

287. To N. v. Zmeskall. (April 26, 1812) 252

288. To the Archduke Rudolph. (Spring 1812) .'.... 252

289. To VARENA, Attorney of the Exchequer, Graz. Vienna, May 8, 1812 . 253

290. To Breitkopp and Haertel in Leipzig. (May 1812) .... 254

291. To Private Secretary Baumeister. Sunday, June 28, 1812 . . 255

292. To Josep Baron v. Schweiger. (June 1812?) 255

293. To Varnhagen von Ense. Teplitz, July 14, 1812 . . . .256

294. To Breitkopp and Haertel, Leipzig. Teplitz, July 17, 1812 . . 257

295. To Emilie M. at H. Töplitz, July 17, 1812 259

296. To VARENA, Attorney of the Exchequer. Töplitz, July 19 (?), 1812 . 260

297. In the Album of the Singer A. SebALD. Töplitz, August 8, 1812 . .261

298. To Breitkopp and Haertel, Leipzig. Frantzens Brunn, near Eger,

August 9, 1812 261

299. To Archduke Rudolph, Franzensbrunn. August 12, 1812 . . .262

300. To Bettina von Arnim. Teplitz, August [15?] 1812 . . . .263

301. To Amalie Sebald in Teplitz. September 16, 1812 . . . .266

302. To Amalie Sebald. (September 1812) 266

303. To Amalie Sebald. (September 1812) 267

304. To Amalie Sebald. (September 1812) 267

305. To Amalie Sebald. (September 1812) 268

306. To Amalie Sebald. (September 1812) 268

307. To Amalie Sebald. (September 1812) 268

308. To Amalie Sebald. (September 1812) 268

309. To Breitkopp and Haertel in Leipzig. Teplitz, September 17, 1812 269

310. To Archduke Rudolph. (1812 ?) 270

311. To Archduke Rudolph. (1812? or 1813) ...... 271

312. To Archduke Rudolph. (1812) . 271

313. To Archduke Rudolph. (December 1812) t s «271

314. To the Princess v. Kinsky in Prague. Vienna, December 30, 1812 . 272

315. To Archduke Rudolph. (Beginning of January, 1813) . . .275

316. To N. v. Zmeskall. January 24, 1813 275

317. To Princess V. KlNSKY, (January-February 1813) . . < s 276

318. To Princess v, Kinsky. (Vienna, February 12, 1813 ?) 277

xxiv CONTENTS

NO. PAGE

319. To George Thomson in Edinburgh. Vienna, February 19, 1813 . 278

320. To N. V. Zmeskall. Vienna, February 25, 1813 281

321. To N. v. Zmeskall. (February 28, 1813) 281

322. To J. Varena, Attorney of the Exchequer, Graz. (Feb.-Mar. 1813) . 282

323. To N. v. Zmeskall. (March 1813 ?)...,... 283
323a. To Sclononitsch, Postmaster 284

324. To Archduke Rudolph. April 4 (1813 ?) .284

325. To J. VARENA, Attorney of the Exchequer. Vienna, April 8, 1813 . 284

326. To N. v. Zmeskall. Vienna, April 19, 1813 285

327. To N. v. Zmeskall. April 26, 1813 286

328. To N. v. Zmeskall. April 26, 1813 286

329. To N. v. Zmeskall. (April 1813) 287

330. To N. v. Zmeskall. (Spring 1813 ?) 287

331. To Archduke Rudolph. (Easter 1813) 287

332. To N. v. Zmeskall. (Spring 1813?) 288

333. To Private Secretary Baumeister. (Spring 1813) .... 288

334. To Baron Johann v. Pasqualati. (Spring 1813?) .... 288

335. To Joh. v. Pasqualati. (Spring 1813 ?) 289

336. To N. v. Zmeskall. May 10, 1813 289

337. To J. Varena, Attorney of the Exchequer. May 27, 1813 . . .290

338. To J. Varena, Attorney of the Exchequer. (May 1813) . . .291

339. To Archduke Rudolph. Baden, May 27, 1813 291

340. To J. Varena, Attorney of the Exchequer. Baden, July 4, 1813 . . 292

341. To Archduke Rudolph. Vienna, July 24, 1313 294

342. To Archduke Rudolph. (Summer 1813) 295

343. To Andreas Stein. (Summer 1813 ?) 295

344. To N. v. Zmeskall. September 21, 1813 296

345. To N. v. Zmeskall. (September, 1813?) 296

346. To N. v. Zmeskall. (September, 1813) 297

347. To N. v. Zmeskall. October 8, 1813 297

348. To N. v. Zmeskall. October 9, 1813 297

349. To N. v. Zmeskall. (November, 1813) 298

350. 3-Part Canon for Fr. Naue. November 23. 1813 298

351. To Archduke Rudolph. (Beginning of December, 1813) . . . 298

352. To Baron Jos. von Schweiger. (Beginning of December, 1813) . 299

353. To Nepomuk Hummel. (Between December 8 and 12, 1813) . . 299

354. Letter of thanks. (December 1813) 300

355. To ? (About the middle of December, 1813) 301

356. To N. v. Zmeskall. (1813) 301

357. To N. v. Zmeskall. (1813) 301

358. To N. v. Zmeskall. (1813) 302

359. To Dr. v. Beyer in Prague. Vienna, December 18, 1813 . . .302

360. To N. v. Zmeskall. (1813 ?) 303

361. To N. v. Zmkskall. (1813 ?) 303

362. To N. v. Zmeskall. (December 1813) 304

363. To Archduke Rudolph. (1813) 304

364. To Archduke Rudolph. (1813) 305

CONTENTS

NO.

365.

366.

367.

368.

369.

370.

371.

372.

373.

374.

375.

376.

377.

378.

379.

380.

381.

382.

383.

384.

385.

386.

387.

388.

389.

390.

391.

392.

393.

394.

395.

396.

397.

398.

399.

400.

401.

402.

403.

404.

405.

406.

407.

408.

409

410.

411

1814)

To N. v. Zmeskall. (1813)
Notice. December 31, 1813
To Count Moritz v. Lichnowsky. (December 1813)
To N. v. Zmeskall. New Year, 1814 .
To N. v. Zmeskall. (January 7, 1814) .
Expression of Thanks. January 24, 1814
To Count Franz v. Brunswick. February 13, 1814
To the Singer Anna Milder. (February 1814)
To Archduke Rudolph. (February 1814)
To Friedrich Treitschke. (February 1814)
To Friedrich Treitschke.
To Friedrich Treitschke.
To Friedrich Treitschke.
To Friedrich Treitschke.
To Friedrich Treitschke.
To Friedrich Treitschke.
To Friedrich Treitschke.
To N. v. Zmeskall. (Spring 1814) .
To Archduke Rudolph. (April 1814) .
(April 1814) .
(Spring 1814)

(Spring 1814 ?)

(Spring 1814)

( February-March,
(March 1814).
(Spring 1814)
(Spring 1814)
(Spring 1814)
(Spring 1814)
(Spring 1814)

To Archduke Rudolph

To Archduke Rudolph,

To N. von Zmeskall.

To Fr. Treitschke. (June 1814)

Musical Notice. Vienna, June 28, 1814

To Archduke Rudolph. July 14, 1814

To the Singer " Forti-Pizarro." (July 1814)

To Herr von Huber. (Summer 1814)

To Archduke Rudolph. (July 1814) .

To Herr v. Adlersburg. (July 1814)

Explanation and Appeal to the Artists in Lond. (Vienna, July 25

To Archduke Rudolph. (Midsummer 1814)

To Archduke Rudolph. (Summer 1814)

To Dr. Joh. Kanka, Lawyer in Prague. (Midsummer 1814)

To Dr. Joh. Hanka, Lawyer in Prague. Vienna, August 22, 1814

To Dr. von Adlersburg. (Summer 1814 ?)

To Baron von Pasqualati. (Midsummer 1814 ?)

To. N. v. Zmeskall. (Midsummer 1814 ?) .

To the Royal National Theatre in Berlin. (Vienna, June 23

To Archduke Rudolph. (Midsummer 1814)

To Fr. Treitschke. (Midsummer 1814) .

To S. A. Steiner and Co. (Summer 1814) .

To S. A. Steiner and Co. (Midsummer 1814)

To Count Moritz v. Lichnowsky. Baden, Sept. 21, 1814

To Archduke Rudolph. (November 1814) .

To Archduke Rudolph. (End of November 1814)

1814)

XXV

PAGE

305

306

307

308

309

310

311

313

314

, 315

316

, 317

318

, 318

, 319

319

. 319

. 320

, 321

. 322

324

326

327

329

330

331

332

333

334

335

336

337

xxvi CONTENTS

NO. PAGE

412. To Baroness von Posek. (Time of the Congress, 1814 ?) . 337

413. To Archduke Rudolph. (December 1814) 338

414. To N. von Zmeskall. (1814 ?) 339

415. To the Law Court. End of 1814 339

416. To Frau Antonie Brentano, Frankfort o/M. (1814 ?) . . . 341

417. To Friedeich Treitschke. (January 1815) 342

418. To Friedrich Treitschke. (January 1815) 343

419. To the Lawyer J. von Kanka, in Prague. (January 11, 1815) . . 344

420. To the Lawyer J. von Kanka. (January 1815) 345

421. To the Lawyer J. von Kanka. Vienna, January 14, 1815 . . . 347

422. To Baron J. VON Pasqualati. (January 1815) 348

423. Letter for Baron von Pasqualati. (January 1815) .... 348

424. To Herr S. A. Steiner. Vienna, February 1, 1815 . . . .349

425. To J. Varena, Attorney of the Exchequer, Graz. Vienna, Feb. 3, 1815 349

426. To Mr. George Thomson, merchant in the musical line, Edinbourgh,

Scottland. Vienna, February 7, 1815 350

427. To Dr. J. Kanka, Prague. Vienna, February 24, 1815 . . .351

428. To Countess Marie von ErdÖDY. February 29, 1815 . . . 352

429. Three-part Canon for L. Spohr's Album. Vienna, March 3, 1815 . 353

430. To Breitkopp and Haertel in Leipzig. March 10, 1815 . . . 353

431. Corrections of Misprints to Breitkopf and Haertel. (1815) . . 354

432. To Sir George Smart, London. Vienna, March 16, 1815 . . .358

433. To J. Varena, Attorney of the Exchequer. Vienna, March 21, 1815 . 358

434. To Dr. J. v. Kanka, Prague. Vienna, April 8, 1815 . . . .359

435. To Carl Amenda, Talsen. Vienna, April 12, 1815 . . . ,360

436. To Johann Peter Salomon in London. Vienna, June 1, 1815 . . 361

437. To Countess Marie von Erdödy. (Summer 1815) .... 363

438. To Magister Brauchle. (Summer 1815 ?) 364

439. To Countess v. Erdödy. (Summer 1815) 364

440. To Countess v. Erdödy. (Summer 1815) 365

441. To Magister Brauchle. (Summer 1815) 366

442. To Archduke Rudolph. (Summer 1815) 366

443. To Magister Brauchle. (Summer 1815) 367

444. To Magister Brauchle. (Summer 1815) 367

445. To Magister Brauchle. (Summer 1815) 368

446. To Countess Marie von Erdödy. (Summer 1815) .... 368

447. To Magister Brauchle. (Summer 1815) 369

448. To N. v. Zmeskall. July 5, 1815 370

449. To Archduke Rudolph. Vienna, July 23, 1815 370

450. To Archduke Rudolph. (Summer 1815) 371

451. To Archduke Rudolph. (Summer 1815 ?) 371

452. To J. Varena, Attorney of the Exchequer, Graz. Vienna, July 23, 1815 371

453. To S. A. Steiner and Co. (1815) 372

454. To Tobias Haslingee. (June? 1815) 372

455. To S. A. Steiner. (1815 ?) 373

456. To S. A. Steiner. (1815 ?) 373

457. To Steiner. (1815 ?) 374

CONTENTS xxvii

NO. PAGE

458. To Steiner. (1815?) 374

459. To Steiner [?]. (1815 ; December) 375

460. To Tobias Haslinger. (1815) 375

461. To Mr. Birchall, London. (Autumn 1815) 376

462. To Fr. Treitschke, Döbling. September 24, 1815 . . . .376

463. To the Lawyer Dr. J. v. Kanka. (Autumn ? 1815) . . . .378

464. To N. v. Zmeskall. October 16, 1815 379

465. To the Archduke Rudolph. (Autumn 1815 ?) 379

466. To the Countess Marie Erdödy. Vienna, October, 19, 1815 . . 380

467. To N. von Zmeskall. October 24, 1815 380

468. To Rob. Birchall, London. Vienna, October 28, 1815 . . .381

469. To BIRCHALL, London. (1815) 382

470. To N. von Zmeskall. October 28, 1815 382

471. To S. A. Steiner. October 30, 1815 382

472. To N. v. Zmeskall. October 31, 1815 383

473. To Frau Antonie von Brentano, Frankfort o/M. Nov.-Oct. 1815 (?) 383

474. To the Archduke Rudolph. (November, after the 15, 1815) . . 385

475. To Mr. Birchall, London. Vienna, November 22, 1815 . . . 385

476. To Ferdinand Ries, London. Vienna, Wednesday, Nov. 22, 1815 . 386

477. To N. v. Zmeskall. December 31, 1815 387

478. To Charles Neate. Vienna, December 1815 387

479. To J. B. Rupprecht. (1815?) ........ 388

480. To the Writer, I. Castelli. (1815 ?) 389

481. To Baron von Nefzer. (1815 ?) 389

482. To Frau Anna Milder-Hauptmann in Berlin. Vienna, Jan. 6, 1816 390

483. To N. v. Zmeskall. January 1816 391

484. Canon from Charles Neate's Album. January 24, 1816 . . .393

485. Canon :" Das Schweigen." FromCH. Neate's Album. Jan. 16, 1816 393

486. To Charles Neate. Vienna, January 1816 393

487. To Feed. Ries in London. Vienna, January 20, 1816 . . . .393

488. To N. von Zmeskall, January 21, 1816 394

489. To S. A. Steiner & Co. January 1816 394

490. To CA jet AN GlANNATASlO DEL Rio. (January 1816 ?) . . .395

491. Pour Monsieur de Neate. (January 1816) 395

492. For the Philharmonic Society in London. Vienna, February 5, 1816 . 396

493. Mons. Birchall, Londres. Vienna, February 3, 1816 . . .396

494. To Ferdinand Ries in London. Vienna, February 10, 1816 . . 397

495. To Giannatasio del Rio. February 15, 1816 (?) . . . .398

496. To Baroness Dorothea von Ertmann. Vienna, February 23, 1816 (?) 398

497. To Ferdinand Ries in London. Vienna, February 28, 1816 . . 399

498. To Franz Brentano, Frankfort o/M. Vienna, March 4, 1816 . . 399

499. To Mr. Birchall in London. March 1816 (?) 400

500. To the Theatre Director Heinrich Schmidt, Briinn. Vienna, March 11,

1816 401

501. To Anton Halm. Vienna, April 1, 1816 402

502. To Ferdinand Ries, London. Vienna, April 3, 1816 . . . .402

503. To Nepomuk Hummel. April 4, 1816 403

xxviü CONTENTS

HO.

504. To N. v. Zmeskall. Vienna, April 7, 1816 .

505. To Carl Czerny. April [?] 1816 .

506. To Carl Czerny. April [?] 1816 .
507- Power of Attorney. Vienna, May 2, 1816

508. To Dr. v. Kanka. (May 2, 1816) .

509. To Ferd. Ries in London. Vienna, May 8, 1816

510. To Countess Marie Erdödy in Padua. Vienna, May 13, 1816

511. To Countess Marie Erdödy. Vienna, May 15, 1816 .

512. To Charles Neate in London. Vienna, May 15, 1816

513. To Mr. Ch. Neate in London. Vienna, May 18, 1816

514. To Ferd. Ries in London. Vienna, June 11, 1816

515. To the Archduke Rudolph. Vienna, July 11, 1816

516. To Mr. Birchall in London. Vienna, July 22, 1816

517. To Giannatasio del Rio. (July 28, 1816)

518. To N. v. Zmeskall. Baden, September 5, 1816 .

519. To Steiner & Co. Baden, September 6, 1816 .

520. To the Lawyer Dr. v. Kanka in Prague. Baden, September 6, 1816

521. To the Nephew, Carl van Beethoven. (September 1816)

522. To Giannatasio del Rio. Sunday, September 22, 1816 .

523. To Franz Wegeler. Vienna, September 29, 1816 .

524. To Antonia Brentano. Vienna, September 29, 1816

525. To N. v. Zmeskall. September 30, 1816 .

526. To Baron Joh. v. PASQUALATI. (Autumn 1816?)

527. Mr. Birchall, Music Seller, London. Vienna, October 1, 1816

528. To N. v. Zmeskall. November 3, 1816 ....

529. To the Archduke Rudolph. (November 1816) .

530. To Giannatasio del Rio. (Probably October or November 1816)

531. To N. v. Zmeskall. (December 5, 1816) ....

532. To Mr. Birchall, London. Vienna, December 14, 1816

533. To N. v. Zmeskall. December 16, 1816 ....

534. To Sir George Smart in London. Vienna, December 16, 1816

535. To Charles Neate. Vienna, December 18, 1816

536. To the Lawyer Dr. v. Kanka in Prague. Vienna, December 28.

537. To Frau Nanette Streicher, nie Stein. December 28, 1816

538. To Archduke Rudolph. December 31, 1816

539. To S. A. Steiner & Co. (End of 1816)

540. To Frau Nanette Streicher. (December 1816)

541. To Fr. Treitschke. (December 1816)

542. To Steiner & Co. (1816)

543. To Steiner & Co. (1816)

544. To Haslinger. (1816)

545. To Steiner & Co. (1816)

546. To Steiner & Co. (1816)

547. To Steiner & Co. (1816)

548. To Steiner & Co. (1816)

549. To Tobias Haslinger. (1816)

550. To Steiner & Co. (1816) .

1816

LIST OF ILLUSTRATIONS

Facing
page
Portrait of Beethoven at the age of Twenty-one . Frontispiece

(From a miniature in the possession of George Henschel, Esq. )
Beethoven's Birthplace 2

(From a drawing by Herbert Railton.)
Portrait of Beethoven's Father ....... 4

(From " The Musical Times")
Portrait of Beethoven's Mother ....... 6

(From " The Musical Times")

Reduced Facsimile of Music. Early Bonn Sketches ... 10
(From autograph in the British Museum.)

Portrait of Beethoven's Grandfather ...... 34

(From " Die Gartenlaube " of 1879.)

Portrait of Beethoven at the age of Thirty-one .... 38

Facsimile of Music. Adagio * of Sonata in C Sharp Minor. Op. 27, No. 2 40
(From autograph in the Beethovenhaus, Bonn.)

Portrait ry W. J. Mähler, 1804-1805 92

(From Dr. Th. von FrimmeVs " Beethoven's Studien ")

Facsimile of Music. Violin Concerto in D (First Page) . . .120
(From autograph in the Hofbibliothek, Vienna.)

Reduced Facsimile of Music. The Ferst Page of Sonata in F Minor

(Appassionata), Op. 57 . . . . . . .132

(From autograph in the Conservatoire de Musique, Paris.)

Etching by L. Schnorr v. Carolsfeld, 1808 140

(From Dr. Th. von FrimmeVs " Beethoven's Studien")

Reduced Facsimile of Music. Redundant Bars in Scherzo of C minor

Symphony, Op. 67 203

(From the Allgemeine Musikalische Zeitung.)

* The opening bars have been torn away.
zxiz

xxx LIST OF ILLUSTRATIONS

Facing
page

Reduced Facsimile of Music. Pianoforte Concerto in E flat. Op.

73 224

(From autograph of hitherto unpublished sketches for first movement. In
the possession of Miss A. E. WiUmott.)

Reduced Facsimile of Music. Overture, Fidelio. From First

Version of the Opera, 1805 313

(From the second edition of Dr. Erich Perieger's " Leonore")

ADDENDA ET CORRIGENDA

VOL. I

Letter 29. Add [1798 ?].

Letter 33. Add June 25, 1799.

Letter 71. Add 1803.

Letter 128. Only second paragraph of note by Tr.

Letter 145. For "Lamperta" read "Lampertz."

Letter 177. Note states that there are no letters to Erdödy between 1809 and 1815,
but Dr. Kalischer afterwards found No. 230, which he assigns to the year 1811.

Letter 235. No stave lines to second music.

Letter 249. Note : — Seyfried, not Sayfried.

Letter 250. Note : — Paul W. Anton W. was &c.

Letters 267, 316, and 350. 19, not 28 ; 24, not 4 ; 23, not 3.

Letter 269. Page 240, 17 lines from end, add small before meetings.

Letter 283. Line 1, after mine, add dedicated to Princess Kynsky.

Letter 309. Eeference to Letter 269, not 270.

Letter 333. Spring 1813.

Letter 379. Note : — line 2, "song for" not in.

Letter 409. Footnote is by Tr., not Ed.

Letter 411. The "present" was probably an acknowledgment of the brilliant
concert, Nov. 29, 1814, for Beethoven's benefit, at which the "Battle"
Symphony was performed, also a new Cantata " Der glorreiche Augenblick,"
poem by Weissenbach. The latter work was only published in 1836 by
Haslinger under the title "Preis der Tonkunst."

Page 356. Footnote refers to first music on next page.

Letter 481. A facsimile was published by Dr. Th. Frimmel in " Musikalisches
Wochenblatt," No. 13, 1908, and suggests 1813 or 1815 as date.

Letter 528. November 3, 1816.

Letter 529. November 1816.

VOL. II.

Letter 559. Note : — For Sonata read Symphony.

Letter 572. Jahn in his copy states positively that it was addressed to Tschiska.

Letter 599. Note : — Fagotto, not Fagatto.

Letter 973. Dr. Kalischer states in his note that the letterwas sent to George IV. The
translator tried to see if the letter could be traced, and wrote to Sir Walter Parratt
who kindly replied that the King's librarian informed him that all the correspon-
dence of George III. and George IV. is missing, except some with Lord North.

Letter 982 is not in the possession of Carl Meinert, but is in the " Gesellschaft der
Musikfreunde," Vienna.

Dr. Kalischer has made use of parentheses and square brackets in somewhat
arbitrary fashion. Hence in this edition a uniform system of brackets has
been adopted. Unfortunately, however, some parentheses signs were inad-
vertently used by the printer. To distinguish all letters in which Dr. Kalischer
has himself used square brackets, we give the numbers, as follows :

VOL. I.— No?. 3-5, 8, 9y, 10-14, 15, 20, 21* 22-32, 34, 357, 36y, 387, 39?, 457 ;
46, 7, 8 ; 50, 2, 6, 7, 8, ; 607, 61-69, 72-76, 80, 81, 83, 84, 86 ; 90, 3, 4, 7 ; 104-106,
108, 115« 205P, 221™, 2237, 227m, 300*1, 409a 459m, 505« and 506m.
Vol. IL— Nos. 560, 635, 636, 766, 850, 906, 914, 966, 1033, 1084, 1106, and 1107.
y, m, d, and p indicate that only year, month, date, or place is in square
brackets. In vol. ii. all have only months enclosed, except 906, which is all
enclosed.

BEETHOVEN'S LETTERS

I Dedication Letter to the Prince Elector,

MAX FRIEDRICH of Cologne

Most illustrious !

Music from my fourth year began to be the first of my
youthful occupations. Thus early acquainted with the
gracious muse who tuned my soul to pure harmonies, I
became fond of her, and, as it often seemed to me, she of
me. I have already reached my eleventh year ; and since
then often has my muse whispered to me in inspired hours :
"Try for once and write down the harmonies of thy
soul ! ' ' Eleven years old — methought — and how would an
author's air become me ? And what would masters of the
art probably say to it ? I almost became diffident. Yet
my muse so willed — I obeyed, and wrote.

May I now venture, most illustrious Prince, to place at
the foot of your throne the first-fruits of my youthful works ?
And may I venture to hope that you will bestow on them
the benevolent paternal look of your encouraging approval ?
Oh yes ! the arts and sciences have always found in you a
wise protector, a generous patron, and budding talent has
prospered under your noble, paternal care. —

Full of this encouraging assurance, I venture to approach
Your most serene Highness with these youthful attempts.
Accept them as a pure offering of childlike homage, and
look graciously on them, and on their young author.

The above appears on the reverse side of the title-page of the first
publication. The title is as follows :

" Three Sonatas for pianoforte dedicated to the Most
worthy Archbishop and Prince Elector of Cologne,
Maximilian Friedrich, my most gracious Lord.

" Dedicated and composed by Ludwig van Beethoven,

" Aged eleven."
Published by Councillor Bossier, Spires.

No. 21. Price 1 fl. 30 kr.

2 BEETHOVENS LETTERS

[According to the original edition of the three pianoforte sonatas
in E flat, F minor, and D, published in 1783. In that year Beethoven
was not eleven, but thirteen years old. Not only the composer, but
many of his friends, maintained for a long time that he was born in
1772. Even Joh. Aloys Schlosser, in the first small Beethoven
Biography, which appeared in 1828, wrote : " Ludwig van Beethoven
was born in the year 1772." Moreover, among Beethoven auto-
graphs in the royal Berlin library, there is a letter (of January 1825)
to the Berlin capellmeister Hennig, on which, probably in the hand-
writing of Aloys Fuchs, is written : " Ludwig van Beethoven, son
of the tenor singer in the Elector's Chapel at Bonn. Born at Bonn,
1772 ; died at Vienna, March 26, 1827."]

II To COUNCILLOR DR. VON SCHADEN at

Augsburg

Autumn month, the 15th,

Bonn, 1787.

Well and nobly born and specially worthy Friend,

I can easily imagine what you think of me ; and I cannot
deny that you have good cause for not entertaining a good
opinion of me. In spite of that, I will not offer any excuse
until I have shown the causes, whereby I venture to hope
that my excuses will be accepted. I must acknowledge
that since I left Augsburg, my happiness, and with it my
health, began to fail ; the nearer I approached my native
city, the more frequent were the letters from my father to
travel faster than I should have done under ordinary circum-
stances, as my mother's state of health was far from satis-
factory. I hurried as fast as I could, for I myself, indeed,
became unwell. The longing once more to see my sick mother
caused me to make light of all obstacles, and helped me to
overcome the greatest difficulties. I found my mother still
alive, but in the worst possible state ; she was dying of
consumption, and the end came about seven weeks ago,
after she had endured much pain and suffering. She was to
me such a good, lovable mother, my best friend. Oh ! who
was happier than I, when I could still utter the sweet name
of mother, and heed was paid to it ; and to whom can I say
it now ? — to the dumb pictures resembling her, the creations
of my imagination ? Since I have been here, I have enjoyed
only a few pleasant hours ; during the whole time I have
been troubled with asthma, and I much fear that it will

'- "" '-'M

' - l#! J

BEETHOVENS LETTERS 3

lead to consumption. I also suffer from melancholy which
for me is almost as great an evil as my illness itself. Imagine
yourself now in my place, and I hope that you will forgive
my long silence. As you showed extraordinary kindness
and friendship at Augsburg in lending me three Carolins, I
must beg of you to be still patient with me. My journey
was expensive, and here I have not the slightest hope of
earning anything ; the fates have not been favourable to
me here in Bonn.

Please excuse my having detained you so long with my
prattling, but everything was necessary to vindicate myself.
I hope you will not refuse still to extend to me your honoured
friendship ; I have no greater desire than to prove myself
to some degree worthy of it.
I am, with all respect,

Your most obedient servant and friend,

L. v. Beethoven
Organist to the Prince Elector of Cologne.
A Monsieur,

Monsieur de Schaden
Conseilier d'augspurg
ä augspurg.

[According to the original manuscript in the Beethovenhaus at
Bonn. This, the first real letter by Beethoven which we possess,
first appeared in the Vossische Zeitung, August 21, 1845, at the time
of the inauguration of the Beethoven monument at Bonn. It is
clear, and shows nothing of the later hieroglyphic writing of the
master, but it is worthy of note that the thoroughly cha-
racteristic " V " already appears here ; also the " K." In neither
case can one be absolutely certain whether the author intended a
capital or a small letter. The situation is plain. On his return
from Vienna Beethoven passed through Augsburg. Here he made
the acquaintance of the family of this advocate, whose wife was an
excellent pianist ; also of the family of the instrument-maker Stein,
whose gifted daughter Nanette was so great a blessing to Beethoven
in later years. The certainty afforded by this letter that already
young Beethoven was suffering from melancholy and asthma, comes
as a surprise ; the latter seems to have been a source of trouble
during the whole of his life. In a letter to his friend, the senator
Franz Brentano, in Frankfort, he complains of having been " again,
and constantly for four months, afflicted with gout in the chest."]

4 BEETHOVENS LETTERS

III To Frl. ELEONORE VON BREUNING

[Bonn, about 1791]

Fragment.

. . . The neckcloth worked with your own hand came
to me as a great surprise. It awoke in me feelings of sadness,
however pleasant the thing in itself. It reminded me of
former times ; also your magnanimous behaviour filled me
with shame. In truth, I did not think that you still con-
sidered me worthy of your remembrance. Oh ! if only you
could have seen how this incident affected me yesterday,
you certainly would not accuse me of exaggeration, if I now
say to you, that your token of remembrance caused me to
weep and feel very sad. I entreat you, however little I
deserve faith in your eyes, to believe, my friend (let me
still ever call you thus), that I have deeply suffered, and
still suffer, through the loss of your friendship. Never shall
I forget you and your dear mother. Your kindness was so
great that it will be long ere I can make good my loss. I
know what I have forfeited, and what you were to me, but
— to fill up this blank I should have to recall scenes un-
pleasant for you to hear, and for me to describe. As a small
return for your kind remembrance of me, I take the liberty
of sending you herewith these Variations and the Rondo with
violin. I am very busy, otherwise I would have copied for
you the long-promised Sonata. In my manuscript it is little
more than a sketch, and it would have been difficult even
for Paraquin, clever as he is, to copy it out. You can have
the Rondo copied and then the score returned to me. I am
sending you the only one of my compositions of which you
could probably make any use ; and as, besides, you are
going away to Kerpen, I thought this trifle might give you
some pleasure.

Farewell, my friend. It is impossible for me to call you
otherwise , and however indifferent I may be to you, pray
believe that I honour you and your mother just as much as
formerly. Moreover, if it be in my power to please you in any
way, I beg you not to ignore me ; it is the only means left for
me to show gratitude for the friendship which I have enjoyed.

A pleasant journey, and bring your dear mother back
fully restored to health. And think sometimes of one who
still always esteems you. Your friend,

Beethoven.

Johann Van Beethoven.

Beethoven's Father

('739 -i74°-)

BEETHOVENS LETTERS 5

[This important fragment of a Beethoven letter will be seen here
for the first time with a different date, and assigned to a different
place. The letter, given here from Wegeler's " Biographical
Notices," was written by Beethoven while still in Bonn. In the
second section of my article, " Beethoven's Frauenkreis," in the
Neue Berliner Musikzeitung (June 16, 1892), I wrote as follows :
" Every one considers, without hesitation, that this letter was
really written from Vienna to Fräulein von Breuning ; and every
one will, anyhow, be astonished that now, in all earnestness, I assert :
this undated letter was written, not in Vienna, but much earlier,
and in Bonn, to his pupil and friend Eleonore von Breuning."
About ten years later, Dr. H. Deiters came independently to the
same opinion (c/. second edition of the first volume of the " Thayer-
Deiters Beethoven Biography," p. 303). The celebrated Album
of the young tone-hero, got up by his friends when he was about
to leave his native city and settle in Vienna, clearly shows that the
quarrel of Beethoven with the Breuning family had come to an end
before he left in 1792. Again, during my stay in Vienna I was
able, through the kindness of Dr. Mantuani, to closely examine
the Album, which is in the Royal Court Library. Not only is
Fräulein Breuning recorded therein as a friend, but on page 15 there
occurs the following :

" Freundschaft, mit dem guten,*
Wachset wie der Abendschatten
Bis des Lebens Sonne sinkt.
" Bonn, den X. [? !] November 1792.

" Ihre wahre Freundinn Eleonore Breuning."

Nottebohm gives the date as November 1, but I take the figure
for an X = 10. Not only this, but what has not hitherto been
mentioned, that same album has at the back of page 11a charming
silhouette, a lady's head, with rose-coloured wreath, without name.
That is probably Eleonore von Breuning. Peace had then been
completely established already at Bonn in 1792. There was there-
fore no reason for Beethoven, many years later, and when in Vienna,
to crave for pardon. — The Paraquin mentioned in the latter was
singer and double-bass player in the electoral band, while in Kerpen
lived the uncle, von Breuning, with whom the family, together with
friends, by way of holiday, spent several weeks every summer.
Beethoven, too, was often there for weeks at a time, and his organ-
playing gave great pleasure (Wegeler and Ries, new edition, p. 77).
The Sonata mentioned in this letter (easy Sonata in C major) was
therefore not — as stated — composed at Vienna about 1796, but long
before, in Bonn, about 1790 or 1791.]

* Friendship with the good

Increases like the shadows of evening
Until the sun of life sinks. [Tr.]

6 BEETHOVENS LETTERS

IV To the Prince Elector, MAX FRANZ at Cologne
[Vienna, end of April or beginning of May 1793]

Most reverend and illustrious Prince Elector, most
Gracious Sovereign,

A few years ago it pleased your Highness to pension off
my father, the court tenor singer, van Beethoven ; also,
by a most gracious decree, to assign to me 100 rix-thalers of
that pension, so that I might be able to clothe, feed, and
educate my two younger brothers, also to discharge our
father's debts.

I wished to place this decree before your chief land-
steward, but my father earnestly begged me not to do it,
so that it might not publicly appear as if he himself were
incapable of providing for his family. And he added that
he himself would hand over to me twenty-five rix-thalers
every quarter, and that promise was always duly kept.

Now after his death (which followed last year in December)
I wished to make use of your most gracious kindness by pre-
senting the above-named decree, when I was startled to
find that my father had made away with it.

With highest respect, I therefore beg your Serene Highness
most graciously to renew this decree, and to instruct your
land-steward to hand over to me the gracious salary for the
quarter just elapsed (due at the beginning of February).
Your Serene Highness's most dutiful and faithful

Lud. v. Beethoven
(Court Organist).

[This petition was first published by Dr. Ludwig Nohl ("Briefe
Beethovens," No. 3), and afterwards by A. W. Thayer ("Ludw. van
Beethoven's Leben," vol. i. p. 256). Both writers consulted the
Rhenish archives at Düsseldorf. This petition, considerate as it is,
gives a clear insight into the sad relationship between Beethoven
and his unfortunate father, who died suddenly on December 18,
1792 — very soon, therefore, after his son's arrival in Vienna. The
petition was answered. According to Deiters, Beethoven received
fifty thalers every quarter up to March 1794. With that all connec-
tion between Beethoven and the Electorate ceased ; for in the
autumn of 1794 the storm of the great revolution swept the Cologne
Electorate from off the political ground.]

Beethoven's Mother
(died 1787.^

BEETHOVENS LETTERS 7

V To the Composer JOHANN SCHENK

June 1793.
Dear Schenk !

I wish I had not already to-day to start off to Eisenstadt.
I should have dearly liked another talk with you. Meanwhile
be assured of my gratitude for all your kindness. I shall
endeavour, to the best of my powers, to show myself worthy
of it. I hope soon to see you again, and enjoy the pleasure
of your society. Farewell, and do not quite forget,

Your,

Beethoven.

[According to Schindler (" Biographie von Ludwig van Beet-
hoven," 3rd ed., 1860, p. 29) the letter first appeared in the Vienna
paper Der Freischütz (1836), the text of which was reproduced by
L. Nohl and A. W. Thayer. In contradistinction to Schindler, these
authors, however, have at the beginning " I did not know " (instead
of " I wish "). But I rather trusted Schindler, who has given an
account of all the interesting relationships between Beethoven and
the famous composer of the " Dorf barbier." And I recently found
my trust in Schindler justified by the poet Eduard Bauernfeld, who
in his delightful book "Aus Alt-und-Neu-Wien " (Vienna, 1873)
gives a comprehensive account of his friendly relationship towards
his former pianoforte teacher, Johann Schenk, who for a time was
Beethoven's secret teacher of counterpoint. That was in the year
1793, after Schenk's attention had been drawn to the fact that
Joseph Haydn, openly recognised as Beethoven's teacher, had left
faults standing in his harmony exercises. Bauernfeld tells of the
deep respect felt by Schenk, who recognised the greatness of his
pupil (Beethoven), and who regarded himself merely as the instru-
ment " for helping in the theoretical training of him who was destined
to become a musical Titan." But the restless young fellow only
worked steadily for a short time ; " the lessons scarcely lasted a year."
Then follows the above letter commencing as in Schindler. The letter
is also given, with the same opening words in a long article on
Schenk by Ritter v. Seyfried in Schilling's " Universallexicon der
Tonkunst." The Schindler reading is evidently the correct one.]

VI To Frl. ELEONORE VON BREUNING in Bonn

Vienna, November 2, 1793.

Honoured Eleonore, my dearest Friend,

I shall soon have been in this capital a whole year, yet
only now do you receive a letter from me, but you were

8 BEETHOVENS LETTERS

certainly constantly in my thoughts. Frequently, indeed,
did I hold converse with you and your dear family, but, for
the most part, not with the tranquillity of mind which I
should have liked. Then it was that the fatal quarrel hovered
before me, and my former behaviour appeared to me so
abominable. But the past cannot be undone, and what
would I not give if I could blot out of my life my former
conduct so dishonouring to me, so contrary to my character.
Many circumstances, indeed, kept us at a distance from each
other, and, as I presume, it was especially the insinuations
resulting from conversations on either side which prevented
all reconciliation. Each of us believed that he was convinced
of the truth of what he said, and yet it was mere anger, and
we were both deceived. Your good and noble character is
indeed a guarantee that I have long since been forgiven.
But true repentance consists, so it is said, in acknowledging
one's faults, and this I intended to do. And now let us draw
a curtain over the whole story, and only learn from it the
lesson that when friends fall out it is always better to have
no go-between, but for friend to turn directly to friend.

Herewith you receive a dedication from me to yourself,
and I only wish that the work were more important, more
worthy of you. I have been worried here to publish this
small work, and I make use of this opportunity to give you,
my adorable Eleonore, a proof of my high esteem and of my
friendship towards you, and of my constant remembrance
of your family. Accept this trifle, and realise that it comes
from a friend who holds you in high esteem. Oh, if it
only gives you pleasure, I am fully rewarded. Let it be
a small re-awakening of that time in which I spent so many
and such happy hours in your home ; it may, perhaps, keep
me in your remembrance, until one day I return, but that
will not be for a long time. Oh, how we shall then rejoice,
my dear friend. You will then find your friend a more
cheerful being, for whom time and his better fortune have
smoothed down the furrows of the horrid past. If you
happen to see B. Koch, please tell her that it is not nice of
her not to have sent me a single line. For I have written
twice ; to Malchus I wrote three times — and no answer.
Tell her that if she would not write, she ought to have urged
Malchus to do so.

As conclusion to my letter, I add a request ; it is that I
may be lucky enough, my dear friend, again to possess a
waistcoat worked by you with the wool of the hare. Forgive this

BEETHOVENS LETTERS 9

indiscreet request from your friend. It arises from the
great preference I have for everything coming from your
hands, and as a secret I may say to you that in this there
is at bottom a little vanity, viz., to be able to say that I
possess something given to me by one of the best, most
worthy young ladies in Bonn. I still have the first one
which you were kind enough to give me in Bonn, but it is
now so out of fashion that I can only keep it in my ward-
robe as a precious gift from you. If you would soon write
me a nice letter, it would afford me great pleasure. If
perchance my letters give you pleasure, I certainly promise
that I will willingly send news as often as I can. For every-
thing is welcome to me whereby I can show you in what
esteem you are held by

Your true friend,

L. v. Beethoven.

P.S. — The Variations] will be somewhat difficult to play,
especially the shakes in the Coda. But don't let that alarm
you. It is so arranged that you need only play the shake ;
the other notes you leave out, as they are also in the violin
part. I never would have written anything of the kind,
but I had already frequently noticed that there was some
one in V. who generally, when I had been improvising of
an evening, noted down next day many of my peculiarities
in composing, and boasted about them. Now as I foresaw
that such things would soon appear [in print], I resolved
to be beforehand with them. And there was another reason
for perplexing the pianists here, viz., many of them are my
deadly enemies, so I wished in this way to take vengeance
on them, for I knew beforehand that here and there the
Variations would be put before them, and that these gentle-
men would come off badly.

[According to the "Biographical Notices" of Wegeler and Ries
(new edition by the editor, p. 88 ff.). This first letter of Beethoven
to his honoured friend, about a year after his arrival in Vienna,
offers to us a last glimpse of the great quarrel between him and the
Breuning family in Bonn, where already harmony had been restored ;
of this the abo^e-mentioned Album offers substantial proof. Time
and place of the two Eleonore letters are now absolutely clear. The
Variations mentioned in the above letter are those for pianoforte
and violin on the well-known theme Se vuol ballar, from Mozart's
" Figaro." They were published, with dedication to Frl. von Breun-
ing, in 1793, by Artaria as Op. 1, but afterwards as No. 1, when the
three Trios were marked as Op. 1. B. Koch was Barbara Koch,

10 BEETHOVENS LETTERS

who afterwards became Countess Belderbusch, one of the most
distinguished women of her day. In the already-mentioned Album
the name Koch frequently occurs. In my article, " Beethoven's
Frauenkreis," I speak about the sisters Barbara and Mariane Koch,
also about Beethoven's " Lorchen," i.e., Frau Dr. Eleonora Wegeler,
nee v. Breuning. Malchus is the statesman afterwards known as
Karl August, Baron Malchus (1770-1840), author, among other
works, of " Handbuch der Finanzwissenschaft," 1830.]

VII To the Music Publisher N. SIMROCK, in

Bonn

Vienna, August 2, 1794.
Dear Simrock,

I deserved a bit of a scolding from you, for having kept
back your Variations so long, but I am telling you no lie
when I say that pressing business prevented me from correct-
ing sooner. What is still amiss, you will find out yourself.
For the rest, I must congratulate you on your printing, which
is beautiful, clear, and readable ; in fact, if you continue thus,
you will become chief in the art of printing — I mean, of
course, music-printing.

In my last letter I promised to send you something of
mine, and you interpreted it as cavalier talk ; why, then,
have I deserved this predicate ? Faugh ! who in these
democratic times would accept such language ? In order to
forfeit the predicate you have dubbed me with, as soon as I
have completed the grand Revue of my compositions, and that
will not take me long, you shall have something that you
certainly will print. I have been on the look-out for a Commis-
sionaire, and have found a first-rate, able man. His name
is Traeg. You have only to write to him or to me what
terms you will accept. He wants from you a third discount.
Only the devil would understand business of that sort.

It is very warm here ; the Viennese are afraid that it
will soon be impossible for them to have any ice-creams ;
for as the winter was mild, ice is rare. Many persons of
importance have been arrested ; they say there was fear of
a revolution breaking out — but it is my belief that so long
as an Austrian can get his brown beer and sausages there
will be no revolution. The gates in the suburbs are ordered
to be closed at ten o'clock at night. The soldiers have
loaded guns. One dare not speak too loud, otherwise the
police will accommodate you for the night.

1 w W
t inn

BEETHOVENS LETTERS 11

Are your daughters already grown up, train one to be
my bride, for if I am in Bonn unmarried I shall certainly
not stop there long. You also must really have an anxious
time of it !

What is good Ries doing ? I will soon write to him.
He must surely have a bad opinion of me, but that cursed
writing is always a trouble to me.

Have you already performed my part [" Partie "] ? Write
to me occasionally.

Your,

Beethoven.

Please send me also some copies of the first Variations.

[When this letter was printed for the first time in Die Gegenwart
(November 28, 1874) it was prefaced by the following note from the
editor, Paul Lindau : " Herr N. Simrock, of Berlin, the proprietor
of the well-known music firm, possesses a number of letters written
by Beethoven to his grandfather, Nikolaus Simrock (and later on,
to his father). From this collection Herr N. Simrock kindly placed
the following letter at the disposal of the Gegenwart." The tone
of the letter shows us that in Beethoven's fiery mind, revolutionary
ideas had already found the right soil in which they could continue
unceasingly to develop. The variations in question are most
probably the " Waldstein " Variations for four hands in C and the
thirteen variations for pianoforte solo in A on "Es war einmal ein
alter Mann," both of which were published by Simrock in 1794
without opus number.]

VIII To Dr. FRANZ WEGELER in Vienna

Between 1794-1796.
My dearest, my best one !

What a horrid picture you have drawn to me of myself. I
recognise it ; I do not deserve your friendship. You are so
noble, so kindly disposed, and now for the first time I do not
dare to compare myself with you ; I have fallen far below you.
Alas ! for weeks I have given pain to my best, my noblest
friend. You believe I have ceased to be kind-hearted, but,
thank heaven, 'tis not so. It was not intentional, thought-
out malice on my part, which caused me to act thus ; but
my unpardonable thoughtlessness, which prevented me from
seeing the matter in the right light. I am thoroughly
ashamed for your sake, also for mine. I scarcely venture
to beg you to restore your friendship. Ah ! Wegeler, my

12 BEETHOVENS LETTERS

only consolation is that you knew me almost from my child-
hood, and — oh, let me say it myself — I was really always of
good disposition, and in my dealings always strove to be
upright and honest ; how, otherwise, could you have loved
me ! Could I, then, in so short a time have suddenly changed
so terribly, so greatly to my disadvantage ? Impossible
that these feelings for what is great and good should all of
a sudden become extinct. My Wegeler, dear and best
one, venture once again to come to the arms of your B.
Trust to the good qualities which you formerly found in him.
I will vouch for it that the pure temple of holy friendship
which you will erect on it will for ever stand firm ; no chance
event, no storm will be able to shake its foundations — firm —
eternal — our friendship — forgiveness — forgetting — revival of
dying, sinking friendship. Oh, Wegeler ! do not cast off
this hand of reconciliation ; place your hand in mine — O
God ! — but no more — I myself come to you and throw myself
in your arms, and sue for the lost friend, and you will give
yourself to me full of contrition, who loves and ever will
be mindful of you.

Beethoven.

I have just received your letter, on my return home.

[Wegeler, in his " Biographical Notices," only gives a fragment
of this letter just to show that after passionate outbursts Beethoven's
" prayer for forgiveness was out of all 'proportion to the fault com-
mitted." This letter, however, has acquired great importance in
the history of our composer, in that it upsets Thayer's statement
that it was only after his first journey to Vienna that he made the
acquaintance of Wegeler and of the Breuning family. Herr Karl
Wegeler, grandson of Dr. F. W., by means of this letter, which lie
published in the Coblenzer Zeitung (May 20, 1890), successfully
fought his case against Thayer. In my reprint of the Wegeler
Notices I have mentioned that Dr. H. Deiters was convinced by
the argument of Carl Wegeler.]

IX To Brother NIKOLAUS JOHANN VON

BEETHOVEN •

Prague, February 19, 1796.
Dear Brother,

Now that you may at any rate know where I am and
what I am doing, I must write you a letter. First of all, I
am getting on well, very well. My art wins for me friends and
esteem. What more can I want. I am also earning this

BEETHOVENS LETTERS 13

time a fair amount of money. I shall stay here for a few
weeks, and then travel to Dresden, Leipzig and Berlin ; it
will be at least six weeks before I return. I hope your
residence in Vienna will please you more and more — only
beware of the whole tribe of bad women. Have you already
been to see cousin Elss [?] ? You might write me a letter
if you have time and inclination. F. Lichnowski will probably
soon return to Vienna ; he has already gone away from here.
In case you want money, you can boldly go to him, for he
still owes me some. For the rest, I hope that you may
become more and more prosperous, also that I may aid in
bringing this about. Farewell, dear brother, and sometimes
think of

Your true, faithful brother,

L. Beethoven.

Greetings to brother Caspar [scratched out with a thick
stroke of the pen, but afterwards ~^*r^^s placed under it].
My address is the Golden Unicorn at the Kleinseite.

The letter is addressed : "To be delivered to my brother, Nicho-
laus Beethoven, at the apothecary's shop at the Kärnthner Thor.
Herr v. Z. is requested to hand this letter to the wig-maker, who
will deliver it."

[It was first printed byNohl ("Neue Briefe Beethovens," 1867) from
the original in the possession of Frau Caroline von Beethoven, widow
of the composer's nephew. What has become of it ? Frau Caroline
is dead. Several decades ago I carried on a lively correspondence
with Beethoven's niece, and with her daughter, afterwards Frau
Axman. Recently, when in Vienna, I was naturally anxious to
meet the grand-niece of the master. I confidently believe that I
have found traces of her. A communication from Mr. Axman, in
Vienna, safely justifies me in concluding that the descendants of
Beethoven's nephew — possibly owing to bad treatment received
from many Beethoven-writers — wish to live in obscurity. The
letter itself is a useful document for Beethoven's only journey
beyond the Austrian frontier. So before that journey he was able
to make a successful display of his art in Prague. Nothing is known
about his doings at Dresden and Leipzig, but much has been written
about his stay at Berlin by Wegeier, Schindler Nohl, and Thayer.
See also the editor's article, " Beethoven in Berlin," in Nord und
Süd (November number, 1886). Who cousin " Elss " — or, as Nohl
writes, " Elso " — was, cannot be determined. F. Linowski is
Prince Karl Lichnowsky, from whom Beethoven afterwards received
a yearly pension. The debt here mentioned is evidently connected
with the young master's Op. 1 (the three Trios). In the subscrip-
tion list Prince Lichnowsky 's name is down for twenty copies.

BEETHOVENS LETTERS

" Herr von Z." must be the court secretary, N. Zmeskall von
Domanovecz, to whom is addressed the following and many other
letters.]

X To the I.R. Court Secretary, N. ZMESKALL VON
DOMANOVECZ

[1796-1798]

Grave.

Alto.

se3:

-«s»-1-

0Tei

~C77

Ba - ron

Basso. ^_-3_ ^_g-|I*^ ?\—ä ä^

22:

Ba - ron

Ba - ron.

My very cheap Baron,

Tell the guitarist to come to me this very day. Amenda
instead of an Amende, which he sometimes deserves for his
bad pauses, shall get me this most welcome guitarist. If
possible, let the so-named come to me at five o'clock ; if not,
to-morrow morning at five or six o'clock, but if I should be
asleep, he must not wake me.

Adieu, mon ami ä bon Marche, perhaps we may see
each other at the Swan.

[According to the original in the royal library, Vienna. Probably
120 letters and notes to the very musical Baron Nicolaus Zmeskall
(Zmeskal von Domanovecz und Lestynie) have been preserved,
ranging from 1796 through the whole of Beethoven's life. The
court secretary, a distinguished violoncellist, was one of the most
trustworthy friends of the composer, and about ten years his senior ;
and, all things considered, his influence was most beneficial. At
an early stage, convinced of his friend's greatness, Zmeskall collected
everything he received from Beethoven ; even the smallest note he
thought worthy of preservation. Beethoven's bursts of humour,
even the roughest jokes, he accepted without ill-will or vexation,
like a true " pious sheep." The proof of the high esteem in which
he was held by the composer is to be found in the dedication to him
of the Quartet in F minor (Op. 95). As regards the chronology of
these letters, it may be noted that from the year 1810 onwards, most
of them are dated, but during the earlier period of this remarkable
bond of friendship only very few\ After long investigation, I have
come to understand that those wThich bear the stamp of blunt, rough

BEETHOVENS LETTERS 15

humour belong to the first period — say, 1796-1805 ; especially all
the letters in which Zmeskall is considered in his character as a
baron (Music Count, Conte di Musica, Dinner-Count, etc. etc.).
Humour is still to be found after 1805, but it gradually becomes
milder, more refined. On this principle I undertook to supply
dates where absent, but these naturally can only claim to be ap-
proximate.— Amenda, on whose name Beethoven gives a specimen
of his favourite habit of playing upon words, a priest in Courland,
also a musician, was one of Beethoven's earliest friends in Vienna ;
letters soon to be given show that he left that city even before 1800.
The " guitarist," as Nohl has well explained in his " Beethoven,
Wagner, Liszt " (1874), was the fellow student of Amenda, the
theologian, G. H. Mylich, who excelled in singing and as a performer
on the guitar. — The " Swan " inn, a favourite resort of the friends,
is frequently mentioned in these letters.]

XI To BARON ZMESKALL

[1796]

The Music Count from to-day is dishonoured and cashiered.
The first violin will be sent as an exile to Siberia. For a
whole month the Baron is forbidden to ask questions ; he
must not be over hasty, and he must only concern himself
about his ipse Miserum.

[According to the original manuscript in the royal library, Vienna.
This ukase without signature is written in pencil, in lapidary
style, on a rough folio sheet of paper, and fills the first page and part
of the second. — Wegeler already speaks about the performances of
music, quartet parties at the house of Prince Lichnowsky during
his second stay in Vienna (1794-1796). The first violin is most
probably Ignaz Schuppanzigh. The " Music Count " is Zmeskall ;
Wegeler, in connection with these musical meetings, mentions an
" amateur Zmeskall."]

XII To Dr. F. WEGELER in Bonn

[May 1797]
Good day, dear Friend,

I owe you a letter, which you shall receive shortly, also
my latest compositions. I am doing well, and I can add,
better and better. If you think it will give pleasure to
some one, do give my kind regards. Farewell, and do not
forget.

Your
Ludwig van Beethoven.
[According to Wegeler's " Biographical Notices."]

16 BEETHOVENS LETTERS

XIII To LENZ VON BREUNING (in his Album)

October 1797.

Die Wahrheit ist vorhanden für den Weisen,
Die Schönheit für ein fühlend Herz
Sie beide gehören für einander.*

Dear, good Breuning,

Never shall I forget the days which I spent with you,
both formerly in Bonn as well as here. Continue to be my
friend, as you will always find me yours.

Your true friend,

L. v. Beethoven.

[The lines at the head are not, as commonly thought, Beethoven's,
but SchiUer's, as I found out by chance some years ago. They are
the words of the Marquis of Posa to the Queen in the fourth Act of
Don Carlos. This album-leaf was first communicated by Wegeler.
Lenz — or more exactly, Lorenz von Breuning — was the youngest
of the Breuning children. Like Wegeler he studied medicine, but
died already in the following year at Bonn (April 10, 1798), at the
early age of twenty-one. He was more than six years younger than
his pianoforte teacher and friend Beethoven (c/. Gerh. v. Breuning :
" Aus dem Schwarzspanierhause," 1874, p. 6, 18, &c.).*]

XIV To the Court Secretary VON ZMESKALL

[1798]
Dearest scavenger of a Baron,

Je vous suis bien oblige pour votre faiblesse de vos yeux.
For the rest, take care in future when I am in a jolly mood,
- as is sometimes the case, not to spoil it ; for yesterday,
through your Zmeskall-domanovezian chatter, I became
quite sad. The devil take you ; I don't want to know
-*.- . anything about your whole system of ethics. Power is the
morality of men who stand out from the rest, and it is also
mine. And if you begin again to-day, I will worry you until
you find everything I do, good and praiseworthy, for I am
coming to the Swan ; I should prefer the Ox, but that
depends upon your Zmeskalian Domanovezian decision
{response). Adieu, Baron Ba . . . ron ron | nor | orn | rno |
onr | .

(Voila quelque chose out of the pawnbroker's shop.)

* The Schiller lines may be translated thus :

Wisdom is for the wise ;
Beauty for a feeling heart,
And both belong to each other.

-:■

BEETHOVENS LETTERS 17

[According to Thayer (ii. 44), who formerly possessed the original.
At this period of exuberant strength which pulsates in this cha-
racteristic letter, the sentence beginning " Power is the morality "
has been regarded as an essential criterion of Beethoven's ethical
view of life. An utter mistake. That was an accident of the
moment. We shall soon hear expressions of the young master
which have quite a different sound, and which reveal the true pith
of Beethoven's ethics. Of Beethoven's " pawnbroker's shop "
[Versatzamt], i.e., transposition of letters and syllables, we shall have
many specimens.]

XV To the Same

[1798 ?]

Best Music Count,

Do please send me one or several pens, as I am really
in great want of them. As soon as I find out where really
good ones are to be had, I will buy some.
I hope to see you at the Swan to-day.

Adieu, dearest Music Count,

Your, &c.

[Thayer formerly (1872) possessed the original. His dear friend
the music count generally saw that he had quills properly cut ;
and these Beethoven used for copying music. This continued
for about ten years. For him the Count was " the best quill-man
in the world."]

XVI To the Same

His Highness von Zmeskall is requested to hasten some-
what with the plucking out of his (and among them probably
some strange) feathers. It is to be hoped that they will not
have grown too firmly on you. As soon as you are willing
to carry out all our wishes, we are, with high esteem,

Your F.[riend],

Beethoven.

[The original of this note, communicated by Thayer, is in the
possession of Mr. Edward Speyer at Shenley. This gentleman, in
his letter of August 4, 1906, states that this note is given quite
correctly in Thayer.]

XVII To the Same

la
Your,

I will come at once to you. At latest in a quarter of an
hour.

Beethoven.
[According to Thayer, who formerly possessed the original.]

I B

BEETHOVENS LETTERS

XVIII

To the Same

My dear charming Count,

Do tell me if I can speak to you this evening about five
o'clock. The matter is pressing.

Your friend,

Bthvn.

[In 1872 Dr. J. B. Bell possessed the original.]

XIX

To the Same

to his most noble and well-born von zmeskall, imperial
and Royal, likewise Royal and Imperial Court
Secretary
His high-born Von Zmeskall is requested kindly to say
where one can speak with him to-morrow.

We are, your most cursedly devoted

Beethoven.

[Thayer (in 1872) possessed the original.]

To the Same

Dearest Count, admirable singer, yet sometimes at fault,
I hope you will have rested well, dearest, most charming
Count ! O, dearest, matchless Count ! Highly beloved,
most wonderful Count !

Graf.

BEETHOVENS LETTERS

Graf.

Graf

Graf.

Graf

EE35

Ö£

:jgC

T'r

p p

i i

Graf....

r -r-r

Graf „

Graf

=F4

Lieb-stes schaf

fc*=£

£:

m m * —

= r LrLT

Graf
be - stes

-p-*~

^"CTF

I ' I '
Graf Graf

Liebster Graf

schaf
I

ster

schaf

schaf.

-r -

■f —

Graf

When can we go to Walter's, I depend entirely on your
being able or unable.

Your,

Bthvn.

[According to the original manuscript in the Vienna court library.
It was first printed in 1865, and independently of each other, by
Thayer in his " Thematic Catalogue," and by Nohl in his " Briefe
Beethovens." — Walter was a pianoforte manufacturer whose instru-
ments Beethoven used.]

XXI Dedication of Op. 9 to COUNT BROWNE

Vienna, July 20, 1798.

Monsieur, Fauteur, vivement penetre de votre munificence
aussi delicate que liberale, se rejouit, de pouvoir le dire au
monde, en vous dediant cette ceuvre. Si les productions de
Part, que Vous honorez de Votre protection en Connoisseur,
dependaient moins de l'inspiration du genie, que de la bonne
volonte de faire de son mieux, l'auteur aurait la satisfaction
tant desiree, de presenter au premier Mecene de sa Muse
la meilleure de ses oeuvres.

20 BEETHOVEN'S LETTERS

[The above was the Dedication in the oldest edition of the Three
String Trios in G, D, and C minor (Op. 9).

There are two special points to notice in this dedication : firstly,
that Beethoven names Count Browne le premier Mlcene de sa Muse ;
and secondly, that he describes the Three String Trios (Op. 9) as the
best of his (former) works. The slightly demonstrative character
of this dedication leads one to conclude that about this time Beet-
hoven had become somewhat uneasy in Lichnowski's house, so that
he was compelled to lead a trump card against him. Here Lich-
nowsky, here Browne. To the same Count was dedicated the great
Sonata in B flat (Op. 22), and to his wife, an excellent pianist,
among other things, the three sonatas (Op. 10). From 1805, how-
ever, no more is heard of this artistic pair in connection with
Beethoven.]

XXII To Baron ZMESKALL

March 24, 1799.

I told you already yesterday that I would not take your
ticket. You ought to know me better than to think I would
rob one of my friends of a pleasure in order thereby to give
pleasure to some one else. I keep to what I said. I herewith
send it back to you, and am glad that I am not so fickle as to
change my mind every minute, but stick fast to what I say.

You seemed a bit offended with me yesterday. Possibly
it was because I asserted, somewhat hotly, that you were
wrong in giving away the ticket. If you call to mind that
concerning this matter I wrote the day before yesterday
two letters to L. and the countess in order to get one, it
would not surprise you ; and besides, I am not of so cold a
nature, and was disappointed in not being able to make
some one happy with this ticket. But that, too, soon passed
away, for it is no use crying out over spilt milk. I fully
acknowledge your bonhommie, but, unfortunately, friendship
will not profit by it.

I am, therefore, not less than formerly,
Your friend,

L. v. Beethoven.

I send it to you very late, because I had to send away
yours very early, although I might have used it, and I have
only just received mine, and also send it to you. Even had
I received none, it would in any case have been sent to you.

[According to Thayer (ii. 34), who formerly (1872) possessed the
original. The L. probably stands for Lichnowsky — .]

BEETHOVENS LETTERS 21

XXIII To the Same

[1799-1880 ?]
Dearest Conte di Musica,

May you be the better for your sleep, and for to-day we
wish you a good appetite and good digestion, which is all
that is necessary for a man's existence ; and yet for everything
we have to pay such a high price. Yes, dearest Conte, trusty
amico, times are bad, our treasury is empty, our income
low, and we, most gracious lord, are compelled to humble
ourselves, and to beg of you a loan of 5 gulden which we will
return to you within the next few days. — With regard to the
documents, we order the strictest inquiry, since in the case of
any cheating we are resolved to severely punish the criminal.

Farewell, dearly beloved amico and conte di musica.
Your most affectionate

L. v. Bhvn.

Given in our Composition Cabinet.

[According to the original in the Beethovenhaus at Bonn. This
undated, unaddressed note was first published from Jahn's copy
by Thayer (iii. 113), who supposes it to have been written in 1809.
But considering the loan story, the note might be supposed of much
earlier date — somewhere about 1799 to 1800. In 1809 Beethoven
was in a much better position financially, so that he would have no
need to borrow from his music count.]

XXIV To the Same

[c. 1799]
Dear Zmeskall,

I shall probably be unable to come to Countess Deym's
to-day, as since last night I have been suffering from a bad
cold. I therefore commend her to your care at the
rehearsal. As for the rendering of the music, I was there
yesterday, and you will have scarcely anything to tell her,
except about the tempi. But do tell me whether or not the
name of the captain who whistled several times at Tosfs house
is Gilg? I particularly want to know.

[According to the original. I have forgotten the name of the
owner who presented the note to me some years ago ; it is printed
in Thayer (ii. 46). Countess Josephine Deym, like her sister
Therese Brunswick and Countess Guicciardi, was a pianoforte pupil
of Beethoven's. In the album of the two sisters, Beethoven wrote
Variations for four hands. The little work based on Beethoven's

22 BEETHOVENS LETTERS

setting of Goethe's " Ich denke dein " was dedicated to them, and
appeared in 1805, when Countess Dehm was already a widow. Her
second husband was the Russian Baron von Stackelberg. Between
the years 1800-1803 Beethoven, likewise his intimate friends, was
a frequent visitor at the house of Count Deym.]

XXV

My dear well-born Herr von Zmeskall, Court Secretary,

still — a bachelor,

If you see me at your house to-day, ascribe it to nothing

else than the fact that some one wishes to speak to me there,

and I could not refuse this. Uninvited, I invite myself —

and I hope you will not kick me out.

Wholly yours,

L. v. Bthvn.
For his well-born H. v. Zmeskall.

[According to the original manuscript in the royal library, Vienna.
First published by Nohl (" Briefe Beethovens ").]

XXVI To the Same

Excellent Z., fc- 17993

I must ask a kindness of you, however unwillingly I do it.
I want you, instead of myself, to try and get from Artaria
six or twelve copies for the present ; the others I would buy
afterwards. I really must give Salieri a copy, and I will
let you know why, also some to other folk. But I should be
glad if you would be good enough to settle with A. for the
six or twelve copies. The speculation with our loan of
500 gulden will, I hope, come off, and perhaps profitably for me,
and then you shall at once have the money you spent. Do
try and persuade A. to let you have these six or twelve
copies, even before he receives the 30 gulden from L. Please
let me know at once when I may expect an answer from you
about this. I should be very glad if it were possible for
me to have copies even to-day, because I have to give Salieri
one without delay.

Your true friend,

Beethoven.

[According to Dr. Th. Frimmel's copy (" Neue Beethoveniana,"
1888), through Dr. Edm. Schebeck of Prague. As the name L.
(i.e., Lichnowsky), and a sum of money to be paid by this Prince to

BEETHOVENS LETTERS 23

Artaria, are mentioned in this letter, the most likely period would
seem to be 1795-96, as the subscribers' list for the three Trios (Op. 1,
1795) includes that of the Prince for twenty copies. But the money
speculation and what is said about Salieri, with whom Beethoven
studied dramatic composition, point to a later date, probably 1799-
1800. Beethoven's three sonatas for violin and piano (Op. 12)
which appeared in 1799, were dedicated to Salieri ; in the same year
also appeared the ten Variations for piano on a theme from Salieri's
opera Falstaff.]

XXVII To the Composer J. N. HUMMEL

[Vienna, c. 1799]

Do not come any more to me. You are a false fellow,
and the knacker take all such.

Beethoven.

XXVIII To the Same

Good friend Nazerl,

[The next day]

You are an honourable fellow, and I see you were right.
So come this afternoon to me. You will also find Schuppan-
zigh, and both of us will blow you up, thump you, and shake
you, so you will have a fine time of it.

Your Beethoven, also named Mehlschöberl, embraces you.

These two characteristic notes to Johann Nepomuk ( — Natzerl)
Hummel appeared after his death in the Wiener Zeitschrift für
Kunst, September 16, 1845. They are here given according to
Thayer (ii. 54). At the time Hummel was studying with Albrechts-
berger and Salieri, and the notes show how intimate was the friend-
ship between Beethoven and Hummel. It is interesting to see
how the amusing nickname " Mehlschöberl " appeared already at
this period to be current among the composer's friends. In a
favourite burlesque, Das lustige Beilage, the cook Mehlschöberl
plays a prominent part. Ignaz v. Seyfried tells us that Beethoven,
during the last period of his earthly pilgrimage, being altogether
dissatisfied with his kitchen fairy, took into his head to be his own
cook, and to invite his friends to the culinary delicacies which he
himself had prepared, and thus humorously entitled himself
" Cook Mehlschöberl."]

24 BEETHOVENS LETTERS

XXIX To Fräulein GERARDI

My dear Frl. G.,

If I told you that the verses you just sent me did not perplex
me, I should be telling a lie. It is a peculiar feeling to see,
to hear one's self praised, and then to be conscious of one's
weakness, as I am. I always look upon such opportunities
as warnings to approach nearer, however difficult it may
be, to the unattainable goal which art and nature set before
us. These verses are really beautiful, but they have just
the one fault, which, indeed, it is customary to find in poets ;
for that which they wish to see and to hear, they actually
do see and hear, however far it may be, at times, below their
ideal. You can readily understand that I should be glad
to make the acquaintance of the poet, or poetess, and now also
I tender my thanks to you for the kindness shown

to your admirer,

Beethoven.

A Mademoiselle,

Mademoiselle de Gerardi.

[In the Niederrheinische Musikzeitung of September 26, 1857
appeared a short article (signed v. C. M.) concerning the collection
of autographs of the late councillor, Karl Ronner von Ehrenwerdt,
which had been put up to auction. Among them was the letter in
question, of which the writer remarks : " We were fortunate enough
to obtain a copy of the Beethoven letter marked No. 562." One
passage in it seems to imply that Beethoven was not quite certain
whether the person he was addressing was a lady or a gentleman.
They, however, soon made each other's acquaintance and became
friends. The family of the excellent amateur vocalist, Christine Gerardi
(Gerhardi) to whom the letter was addressed, came from Tuscany
to Vienna, and the young lady, who was spoken of as " the greatest
singer of Vienna," married the physician, Dr. Joseph von Frank,
most probably in 1798. Their house became a centre of intellectual
life in the Austrian capital.]

XXX To the Same

[1798 ?]
Dear Chr.,

You let me hear something yesterday about a portrait
of myself. I wish you to proceed somewhat carefully in the
matter. I fear if we return it through F., the disagreeable B.

BEETHOVENS LETTERS 25

or the arch-fool Joseph might interfere, and then the matter
might be meant as a mean trick played on me, and that
would be really most annoying. I should have to avenge
myself, and the whole populasse does not deserve it. Try
to get hold of the thing as well as you can. I assure you
that after this I should put a notice in the newspaper, request-
ing all painters not to take my portrait without my consent,
were I not afraid of falling into perplexity over my own
countenance. As to the matter of taking off my hat, it is
altogether stupid, and at the same time too impolite for
me to retaliate. Pray explain to him the truth about
the walk.

Adieu. The devil take you.

[This enigmatical letter was first communicated by Nolil (" Neue
Briefe Beethovens "). The original was formerly in the possession
of Dr. Helm, director of the general hospital at Vienna, in 1872,
when Thayer published it. So far as can be made out, some painter
had taken Beethoven's portrait, so to speak, from behind. There
had been more talk about the portrait — by no means a successful
one — than was pleasant to Beethoven, so that he had to protest
against it, without wishing to give offence to the artist. The
" disagreeable B." was probably the physician, Dr. Bolderini, a
friend of Beethoven ; and the " arch-fool Joseph," Christine's
admirer, Joseph Frank, afterwards her husband. Beethoven
appears to have been annoyed at the jealousy of Joseph Frank,
evidently the favoured one.]

XXXI To CARL AMENDA

[1799]

To-day I received a letter inviting me to Mödling in the
country ; I have accepted it, and start off this very evening
to spend a few days there. It was all the more welcome
to me, for my lacerated heart would have suffered all the more,
although the main attack has again been repelled ; but I
am not yet quite certain whether my plan will prevent it.
Yesterday a journey to Poland in September was proposed to
me, and as I shall not be put to any travelling or other ex-
penses, and as I shall be able to earn money, I have accepted.

Farewell, dear A., and give me speedy news from the
places you stop at on the way, and also when you have
arrived home. Pleasant journey, and do not forget.

Your,

Beethoven.

26 BEETHOVENS LETTERS

[According to the " Neue Zeitschrift für Musik " (1872, No. 4),
in which Nohl first published several letters to this well-known
enthusiastic, talented friend and admirer of the master's. The
happy period of this friendship was about 1798-1799. The " lace-
rated heart " is probably connected with Beethoven's first attempt
at marriage. He had lost his heart, easily susceptible of love, to
the excellent vocalist, Magdalene Willmann,* then in Vienna ; he
made a serious offer to her, which, however, met with no response.
In that same year she married Herr Galvani. Nothing came of the
projected journey to Poland.]

XXXII To the Same

[1799]

I lose not a moment in giving you what Prince L.[ich-
nowsky] sent for you. It is only a small sum, but he is now
about to start on a journey, and you, of course, know what
one wants at such a time.

Yes, dear, good Amenda, again must I repeat that I am
extremely sorry that you did not let me know sooner how
you were situated. Things could have been arranged quite
differently, and I should not now be anxious lest you might
be in want of something while travelling. For the moment
I am so situated that I can spare nothing, but this cannot
last very long, so I earnestly beg of you, wherever you may
be, and whenever you find yourself in want of anything, at
once to let me know ; for you can rest assured that I will
help you without delay. As I do not know whether you
are starting off already to-morrow, I felt I must say all this
to you.

In haste,

Your,

Bthvn.

[When the enthusiastic friends were forced to part in June 1799,
Beethoven honoured his theological and musical friend with a
carefully written copy of the parts of the F major quartet (Op. 18,
No. 1).

XXXIII To the Same

Dear Amenda,

Accept this quartet as a small remembrance of our friend-
ship, and as often as you play it, think of the days we spent

* The fact that Beethoven made an offer to Magdalene Willmann was told to
Thayer by a daughter of her brother Max (Thayer ii. p. 58). — Tr.

BEETHOVENS LETTERS 27

together, and at the same time of the genuine affection
which I felt towards you, and which I shall ever continue to
feel.

Your sincere and warm friend,

Ludwig.
Vienna, 1799. June 25.

[The above words were written by Beethoven on the work marked
by him " Quartetto II." Amenda himself was an able violinist.
The designation " Quartetto II." rectifies an error, and to this Nohl
already called attention. The statement of Ries that of the six
quartets Op. 18, the one in D was composed first and the one in
question third, was accepted. From the inscription on the presenta-
tion copy to Amenda, there is, however, no doubt that the quartet
in D was the first, and the one in F second.]

XXXIV To the Same

[April or May 1800]

How can Amenda imagine that I could ever forget him !
Because I do not write to him. Is that indeed the only way
that one man can hold another in remembrance ?

Time after time do I think of the best of the men whom
I have known ; yes, you certainly come next to the two
who possessed my whole love, and of whom one still lives ; —
never shall I cease to remember you. You will soon receive
a long letter from me about my present condition, and all
news about myself which I think may interest you.

Farewell, dear, good, noble friend, and ever preserve
love and friendship for,

Your ever-faithful,

Beethoven.

XXXV To CARL AMENDA at Wirben in Courland

[Vienna, June 1, 1800]

My dear, my good Amenda, my heartily beloved Friend,
With deep emotion, with mixed pain and pleasure did I
receive and read your last letter. To what can I compare
your fidelity, your attachment to me. Oh ! how pleasant it
is that you have always remained so kind to me ; yes, I also
know that you, of all men, are the most trustworthy. You are
no Viennese friend ; no, you are one of those such as my
native country produces. How often do I wish you were

28 BEETHOVENS LETTERS

with me, for your Beethoven is most unhappy, and at strife
with nature and Creator. The latter I have often cursed
for exposing His creatures to the smallest chance, so that
frequently the richest buds are thereby crushed and destroyed.
Only think that the noblest part of me, my sense of hearing,
has become very weak. Already when you were with me
I noted traces of it, and I said nothing. Now it has become
worse, and it remains to be seen whether it can ever be
healed. The primal cause of it is the state of my bowels. So
far as the latter are concerned, I am almost well, but I much
fear that my hearing will not improve ; maladies of that
kind are the most difficult of all to cure. What a sad life I
am now compelled to lead ; I must avoid all that is near
and dear to me, and then to be among such wretched egotis-
tical beings such as * * * &c. I can say that among all,
Lichnowski has best stood the test. Since last year he has
settled on me 600 florins, which, together with the good sale
of my works, enables me to live without anxiety. Every-
thing I write, I can sell immediately five times over, and also
be well paid. I have composed a fair quantity, and as I
hear that you have ordered pianofortes from * * *, I will
send you many things in one of the packing-cases, so that
it will not cost you so very much. Now to my consolation,
a man has come here with whom intercourse is a pleasure,
and whose friendship is free from all selfishness. He is one
of the friends of my youth. I have often spoken to him about
you, and told him that since I left my native country, you
are the one whom my heart has chosen. Even he does not
like * * *, the latter is and remains too weak for friendship. I
consider him and * * * mere instruments on which, when it
pleases me, I play ; but they can never become noble witnesses
of my inner and outer activity, nor be in true sympathy with
me ; I value them according as they are useful to me. Oh !
how happy should I now be if I had my perfect hearing, for
J should then hasten to you. As it is, I must in all things
be behindhand ; my best years will slip away without bring-
ing forth what, with my talent and my strength, I ought to
have accomplished. I must now have recourse to sad
resignation. I have, it is true, resolved not to worry about
all this, but how is it possible ? Yes, Amenda, if, six months
hence, my malady is beyond cure, then I lay claim to your
help. You must leave everything and come to me. I will
travel (my malady interferes least with my playing and
composition, most only in conversation), and you must be

BEETHOVENS LETTERS 29

my companion. I am convinced good fortune will not fail
me. With whom need I be afraid of measuring my strength ?
Since you went away I have written music of all kinds except
operas and sacred works.

Yes, do not refuse ; help your friend to bear with his
troubles, his infirmity. I have also greatly improved my
pianoforte playing. I hope this journey may also turn to
your advantage ; afterwards you will always remain with
me. I have duly received all your letters, and although I
have only answered a few, you have been always in my mind,
and my heart, as always, beats tenderly for you. Please
keep as a great secret what I have told you about my hearing ;
trust no one, whoever it may be, with it. Do write frequently ;
your letters, however short they may be, console me, do me
good. I expect soon to get another one from you, my dear
friend. Don't lend out my Quartet any more, because I
have made many changes in it. I have only just learnt how
to write quartets properly, as you will see when you receive
them.

Now, my dear good friend, farewell ! If perchance you
believe that I can show you any kindness here, I need not,
of course, remind you to first address yourself to
Your faithful, truly loving,

L. v. Beethoven.

[These two letters first appeared in the Leipzig Signale für die
Musikalische Welt in January 1852. From the passage in the
second letter in which Beethoven speaks of being at strife with
Nature and Creator, may be seen with what power and poetry the
composer could write even in a letter, when in the right mood ;
and such was often the case.

After careful examination, I consider that these letters, also the
one which follows, must have been written in 1800, not 1801, the
year assigned by Thayer. The passage in which mention is made
of the annuity of 600 florins from Prince Lichnowsky decidedly
points to the year 1800 ; and the same statement is also to be
found in the following letter to Dr. Wegeler.]

XXXVI To Dr. F. WEGELER in Bonn

[Vienna, June 29, 1800]
My good, dear Wegeler,

I am most grateful to you for thinking of me ; I have
so little deserved it, or sought to deserve it at your hands.

30 BEETHOVENS LETTERS

And yet you are so very good, and are not kept back by
anything, not even by my unpardonable negligence, but
always remain a faithful, good, honest friend. That I could
ever forget you, and especially all of you who were so kind
and affectionate to me, no, do not believe it ; there are
moments in which I myself long for you — yes, and wish to
spend some time with you. — My native land, the beautiful
country in which I first saw the light of the world, is ever as
beautiful and distinct before mine eyes as when I left you.
In short, I shall regard that time as one of the happiest of
my life, when I see you again, and can greet our father Rhine.
When that will be I cannot yet say. This much will I tell
you, that you will only see me again when I am really great ;
not only greater as an artist, but as a man you shall find me
better, more perfect ; and if in our native land there are
any signs of returning prosperity, I will only use my art for
the benefit of the poor. O, happy moment, how fortunate
I think myself in being able to get a fatherland created here !

You want to know something about my present state ;
well, at the present moment it's not so bad. Since last year,
Lichnowsky, who, however incredible it may seem when I
tell it you, was always my warmest friend, and has remained
so (of course there have been slight misunderstandings
between us, but just these have strengthened our friendship),
has settled a fixed sum of 600 florins on me, and I can
draw it so long as I fail to find a suitable post. My composi-
tions are bringing in a goodly sum, and I may add, it is
scarcely possible for me to execute the orders given. Also,
for every work I have six, seven publishers, and if I choose,
even more. They do not bargain with me ; I demand and
they pay. You see how pleasant it is. For example, I see
a friend in distress, and if my purse does not allow of my
helping him, I have only to sit down, and in a short time
he is relieved. Also I am more economical than I was for-
merly. If I should settle here, I shall certainly contrive to
get one day every year for concerts, of which I have given
some.

Only my envious demon, my bad health, has thrown
obstacles in my way. For instance, my hearing has become
weaker during the last three years, and this infirmity was in
the first instance caused by my bowels, which, as you know,
were already, in the past, in a wretched state ; but here I am
constantly afflicted with diarrhoea, which produces very
great weakness. Frank wished to restore me to health by

BEETHOVENS LETTERS 31

means of strengthening medicines, and to cure my deafness
by means of oil of almonds, but, prosit ! nothing came of
these remedies ; my hearing became worse and worse, and
my bowels always remained in their first state. This con-
tinued until the autumn of last year, and ofttimes I was in
despair. Then an Asinus of a doctor advised cold baths,
a more skilful one, the usual tepid Danube baths. These
worked wonders ; the state of my bowels improved, my
deafness remained or became worse. This winter I was truly
miserable ; I had terrible attacks of colic, and I fell
quite back into my former state. So I remained for about
four weeks, and then went to Vering, for I thought that
this state required surgical aid, and in addition, I had always
placed faith in him. He succeeded almost entirely in check-
ing this violent diarrhoea. He ordered tepid Danube baths,
and whenever I took one, I had to pour into it a little bottle
full of strengthening stuff. He gave me no medicine until
about four days ago, when he ordered pills for the stomach,
and an application of herbs for the ear. And through these
I can say I feel stronger and better ; only the humming in
my ears continues day and night without ceasing. I may
truly say that my life is a wretched one. For the last two
years I have avoided all society, for it is impossible for me
to say to people, " I am deaf." Were my profession any
other, it would not so much matter, but in my profession
it is a terrible thing ; and my enemies, of whom there are
not a few, what would they say to this ? To give you an
idea of this extraordinary deafness, I tell you that when at
the theatre, I am obliged to lean forward close to the orchestra,
in order to understand what is being said on the stage.
When somewhat at a distance I cannot hear the high tones
of instruments, voices. In speaking it is not surprising that
there are people who have never noticed it, for as a rule I
am absent-minded, and they account for it in that way.
Often I can scarcely hear any one speaking to me ; the tones
yes, but not the actual words ; yet as soon as any one shouts,
it is unbearable. What will come of all this, heaven only
knows ! Vering says that there will certainly be improvement,
though perhaps not a perfect cure. I have, indeed, often — —
cursed my existence ; Plutarch taught me resignation. If
nothing else is possible I will defy my fate, although there
will be moments in my life when I shall be God's most wretched
creature. I beg you not to tell any one about this ; don't
say even a word to Lorchen. I only tell it you as a secret ;

32 BEETHOVENS LETTERS

I should be glad if you would open up correspondence with
Vering on the subject. Should my present state continue,
I would come next spring to you. You would take a house
for me in some beautiful place in the country, and so I
would rusticate for six months. By that means there might
come a change. Resignation ! what a miserable refuge,
and yet it is the only one for me.

Pray forgive me for telling you of a friend's trouble, when
you yourself are in sad circumstances. Steffen Breuning is
now here, and we are together almost daily. It does me good
to hark back to old times. He is really a good, noble young
fellow, who knows a thing or two, and whose heart, as with
all of us more or less, is sound. I have very fine rooms now,
which look on to the bastion, and this for my health is of
double value. I really think I can arrange for Breuning
to come and live with me. You shall have your Antiochus,
and a rare lot of my new compositions, unless you think it
will cost you too much. Honestly speaking your love for art
gives me the highest pleasure. Only write to me how it is to
be managed, and I will send you all my works, of which the
number is now pretty large, and it is daily increasing.
In place of the portrait of my grandfather, which I beg you
to send as soon as possible by stage-coach, I send you that
of his grandson, your ever good and affectionate Beethoven.
It is coming out here at Artaria's, who, also other art firms,
have often asked me for it. I will write shortly to Stoffel,
and read him a bit of a lecture about his cross temper. He
shall hear what I have to say about old friendship, he shall
promise on his oath not to grieve you any more in your,
apart from this, sad circumstances. I will also write to kind
Lorchen. I have never forgotten a single one of you dear
good people, although you never get any news from me ; but
writing, as you well know, was never a strong point with me
— years, even, have passed without my best friends receiving
anything. I only live in my music, and I have scarcely begun
one thing when I start on another. As I am now working, I
am often engaged on three or four things at the same time.

Write often to me now ; I will see to it that I find time
sometimes to write to you. Greetings to all, also to the good
wife of the privy councillor, and tell her that I still, occa-
sionally, have a " raptus." I am not surprised at the change
in K. ; fortune is fickle, and does not always fall to the most
worthy, the best. A word about Ries, to whom hearty
greetings. As regards his son, about whom I will write

BEETHOVENS LETTERS 33

shortly, although I am of opinion that to make his way in
the world, Paris is better than Vienna. The latter city is
overcrowded, and even persons of the highest merit find
it hard to maintain themselves. By the autumn or the
winter I will see what I can do for him, for then every one
is returning.

Farewell, good, faithful Wegeler. Rest assured of the
love and friendship of

Your,

Beethoven.

[According to the " Biographical Notices " of Wegeler and Ries.
The dating of this highly important Beethoven letter has up to now
been a source of difficulty. Wegeler says : " The year is wanting ;
from the following letter, 1800 would seem to be the most probable."
Even recently I assigned it to 1801, as "shown in most convincing
manner by A. W. Thayer." On further examination of the two
letters in question I have now formed a different opinion. I agree
with Nohl who assigns 1800 to both letters ; to the above letter
Schindler also has the same date. Apart from the words concerning
the Lichnowsky pension, I was influenced by the remark concerning
Ries, whose removal would only be mentioned in 1801, whereas
according to Ries's own statement he arrived at Vienna in 1800.
Then the November letter which mentions the " enchanting
maiden " cannot, according to the full development of this im-
passioned love-affair, be ascribed to the year 1801. Explanations
are given in Wegeler concerning the persons mentioned in the
letter ; and still fuller ones in my new edition of the " Biographical
Notices."]

XXXVII To Dr. FRIEDRICH VON MATTHISSON

August 4, 1800.
Highly honoured Sir,

Herewith you receive a composition of mine which was
published some years ago, and of which, to my shame, you
as yet have no knowledge. To excuse myself and say why
I dedicated something to you which came warm from my
heart, yet without letting you know anything about it, that
I am unable to do. Perhaps at first, it was because I did
not know your address, also partly timidity, fearing that I
had been over hasty in dedicating something to you without
knowing whether it met with your approval. Even now,
indeed, I send you the Adelaide with diffidence. You
yourself know what change a few years produce in an artist

34 BEETHOVENS LETTERS

who is constantly advancing ; the greater the progress he
makes in art, the less do his old works satisfy him. My
most ardent wish is gratified if the musical setting of your
heavenly Adelaide does not altogether displease you, and if
thereby you feel moved soon again to write another poem of
similar kind, and, not finding my request too bold, at once
to send it to me, I will then put forth my best powers to
come near to your beautiful poetry. Look upon the dedication
[two words struck out] partly as a token of the pleasure
which the setting of your A. afforded me, and partly as a
token of gratitude and high esteem for the great pleasure
your poetry generally has always given, and still will give me.

In playing over the A. think sometimes of your

sincere admirer,

Beethoven.

Vienna, August 4, 1800.

[According to the facsimile in the royal library, Berlin. This
letter was printed in the Neue Zeitschrift für Musik (December 26,
1837) when Schumann wielded his glorious sceptre. In an editorial
note he says : "Of the above letter there exists a lithograph, but
on what occasion it was published, the sender cannot say. Anyhow
it offers one more proof of the beautiful, modest character of him
who wrote it." Adelaide was published by Artaria in 1797. Mat-
thisson himself, in a note to his poem, says " Several composers
gave a musical soul to this lyrical phantasy ; but no one, such is
my inmost conviction, by his melody threw the text into deej^er
shade than the gifted Ludwig van Beethoven at Vienna " (in the
notes to his poems, Vienna, 1815, 1st Part). Beethoven must have
seen this edition, and been delighted.

[In a letter written by the poet to Karl Sondershausen, he offers
to his friend best congratulations on learning that a daughter, a
" new earthly pilgrim," has been born. And he adds : " And now
hearty thanks for the real joy you have prepared for me in deciding
to dedicate to me your little maiden. This joy was materially
heightened, when I perceived the name (i.e., Adelaide) which you
intend to give her ! How that would have gladdened the heart of
the excellent Beethoven, to whom alone belongs the honour of causing
that poem still to be held in remembrance." Considering the
pleasure Beethoven's setting gave Matthisson it is to be hoped that
he really did " gladden the heart " of the composer by answering
his modest letter. — Tr.]

Ludwig Van Beethoven.

Beethoven's Grandfather

(1712-1773)

(From "Die Gartenlaube," Let

BEETHOVENS LETTERS 35

XXXVIII To Dr. FRANZ WEGELER in bonn

My good Wegeler ! November 16 [1801 ?].

I thank you for the fresh proof of your anxiety concerning
myself, and all the more as I am so little deserving of it.
You want to know how I am, what I am taking ; and how-
ever unwillingly I may discuss the matter, I certainly like
best to do it with you. For the last few months Vering has
ordered blistering plasters to be constantly placed on both
arms ; and these, as you will know are composed of a certain
bark. This is a most unpleasant cure, as, until the bark has
sufficiently drawn, I am deprived for a day or so of the free
use of my arms, to say nothing of the pain. I cannot, it is
true, deny that the humming, with which my deafness
actually began, has become somewhat weaker, especially in
the left ear. My hearing, however, has not in the least
improved ; I really am not quite sure whether it has not
become worse. The state of my bowels is better, and
especially after I have taken lukewarm baths a few, times,
I am fairly well for 8 or 10 days. I seldom take anything
strengthening for the stomach; I am now applying herbs
to my belly according to your advice. Vering won't hear
of shower-baths, but I am really very dissatisfied with him ;
he shows so little care and forbearance for such a malady ;
if I did not actually go to him, and that costs me a great
effort, I should never see him. What is your opinion of
Schmidt ? I do not like making a change, yet it seems to
me that Vering is too much of a practitioner to be able to
take in new ideas through books. Schmidt appears to me
a very different kind of man, and perhaps would not be so
remiss. Wonders are told about galvanism ; what do you
say about it ? A doctor told me he had seen a deaf and
dumb child in Berlin who had recovered his hearing, also a
man who had been deaf for seven years. I have just heard
that your Schmidt is making experiments with it.

My life is again somewhat pleasanter, for I mix in society.
You can scarcely imagine what a dreary, sad life I have led
during the past two years. My weak hearing always seemed
to me like a ghost, and I ran away from people, was forced
to appear a misanthrope, though not at all in my character.
This change has been brought about by an enchanting
maiden, who loves me, and whom I love. Again during
the past two years I have had some happy moments, and

36 BEETHOVENS LETTERS

for the first time I feel that marriage can bring happiness.
Unfortunately she is not of my station in life, and now — for
the moment I certainly could not marry — I must bravely
bustle about. If it were not for my hearing, I should already
long ago have travelled half over the world, and that I must
do. For me there is no greater pleasure than that of prac-
tising and displaying my art. Do not believe that I should
feel happy among you. What, indeed, could make me
happier ? Even your solicitude would pain me ; at every
moment I should read pity on your faces, and that would
make me still more miserable. My beautiful native country,
what was my lot when there ? Nothing but hope of a better
state, and, except for this evil, I should already have won it !

0 that I could be free from it and encompass the world !
My youth, yes I feel it, is only now beginning ; have I not
always been sickly ? My strength, both of body and mind,
for some time has been on the increase. Every day I
approach nearer to the goal ; this I feel, though I can scarcely
describe it. Only through this can your Beethoven live.
Don't talk of rest ! I know of no other than sleep, and
sorry enough am I that I am compelled to give more time
to it than formerly. If only half freed from my infirmity,
then — as a thorough, ripe man — I will come to you and
renew the old feelings of friendship. You will see me as
happy as my lot can be here below, not unhappy. No, that

1 could not endure ; I will seize fate by the throat ; it shall
certainly never wholly overcome me. Oh ! life is so
beautiful, would I could have a thousand lives ! I feel I am
no longer fit to lead a quiet life ! Do write as soon as you
can. See to it that Steffen makes up his mind to get an
appointment in the Order of German Knights. For his
health, life here is too fatiguing. And besides, he leads
such a retired life, that I do not see how he can get on.
You know how it is here ; I do not mean to say that society
would render him less languid ; he can never be persuaded
to go into it. Some time ago I had a musical party at my
house ; but our friend Steffen did not turn up. Do advise
him to take more rest and to be more steady. I have
done all I could ; without he takes this advice, he can
never become either happy or healthy. Now tell me in
your next letter, whether it matters if I send you a great
deal of my music. What you really don't want you can sell,
and so you will have your postage — also my portrait. Best
remembrances to Lorchen — also Mamma — and Christoph.

BEETHOVENS LETTERS 37

You do really love me a little, do you not ? Be as well
assured of this (of my love), as of the friendship of your

Beethoven.

[According to Wegeler and Ries. I follow Nohl in dating the
letter 1800, although Wegeler expressly writes 1801. The "en-
chanting maiden " whom Beethoven mentions, i.e., Giulietta
Guicciardi, was, in any case, in his circle before 1801. To the
famous physician, Professor J. A. Schmidt, Beethoven, in 1802,
dedicated the arrangement of the Septet as Trio for pianoforte,
clarinet (violin) and 'cello. Dr. S. attended the composer in his
severe illness after the rupture with Giulietta. One outcome of
that illness was the " Heiligenstadt Will." Stephan and Christoph
(Stoffel) were the brothers of Eleonore (Lorchen) v. Breuning.]

XXXIX To CAPELLMEISTER HOFMEISTER in

Leipzig

Vienna, December 15 [1800].
Dearest Brother,

I have often wished to answer your inquiries, but as a
correspondent I am fearfully lazy, and so a long time passes
before I write, instead of notes, dry letters [of the alphabet] ;
but at last I have forced myself to come up to the mark.

Pro primo, know that I am very sorry, my dear brother
in art, that you did not let me know sooner, so that I could
have offered you my quartets for sale, also many other things
of which I have already disposed. However, if you, Mr.
brother, are as conscientious as many other honourable
engravers, who prick us poor composers to death, you will
also know, when they are published, how to make profit out
of them. I will now set down in brief what you can have
of mine. (1) A Septet for violin, viola, 'cello, contra basso,
clarinet, corno, fagotto — all obbligato (I cannot write anything
non-obbligato, for I came into the world with an obbligato
Accompagnement). This Septet has greatly pleased ; for
more frequent use a violin, viola and another 'cello could be
indicated in place of the fagotto, clarinetto and corno.
(2) A grand symphony for full orchestra. (3) A pianoforte
Concerto, which I really do not give out for one of my best,
and so of another which will be published here by Mollo
(this as news for the Leipzig critics), because I still keep the
better for myself until I make a tour; still it will not in any
way disgrace you to print it. (4) A grand solo Sonata.

38 BEETHOVENS LETTERS

That is all I can offer for the moment ; a little later on you
can have a Quintet for strings, and perhaps Quartets and
other things which as yet are not ready. In your reply you
might fix prices, and as you are neither Jews nor Italians,
and I neither of the two, we shall no doubt come to an agree-
ment. Farewell, dearest brother, and be assured of the
esteem of,

Your brother,

L. v. Beethoven.
December 15, 1800.

[According to the original manuscript in the possession of Herr
Henrichsen, present proprietor of the Peters firm, Leipzig. The
letter first appeared together with others in the Neue Zeitschrift
für Musik (March 7, 1837). Each number of the paper under the
direction of Robert Schumann bore a poetical motto. The number
in question with the leading article, " Letters of Beethoven," had
the following :

Wie er war, ist er geblieben ;

Kraftvoll, würdig, wahrhaft, rein,

Ja die edelste der Perlen

Schloss die ranke Muschel ein.

As he was, so he remained ;
Powerful, dignified, truthful, pure,
Yea, the noblest of pearls
Was inclosed in a rough shell. (Tr.)

It is the concluding verse of Zedlitz's poem, " Beethoven's Toten-
feier." Franz Anton Hofmeister, founder of the Peters music firm,
born in 1754, studied at Vienna for the Bar, but like many other
lawyers, exchanged Jus for music. He then became a conductor
of sacred music at Vienna where he founded a book, art and music
business. Here also he was on friendly terms with Beethoven. In
1798 he went to Leipzig, and there, in partnership with the organist
Ambrosius Kulinel, founded the Bureau de Musique which soon
prospered. In 1805 Hofmeister retired from the business, and
returned to Vienna, in order to devote himself entirely to business.
His favourite instrument was the flute, for which he wrote much
music. Of his operas, Telemach, Prinz von Ithaka was the most
successful. His partner, Kiihnel, conducted the Leipzig business
until his death in 1813. In 1814 it was purchased by C. F. Peters,
with whom we shall also find Beethoven in active correspondence.
The original letter consists of four quarto pages, on three of which
there is writing. The seal LVB is well preserved. The address is
not in the composer's handwriting, but in that of his brother Carl
Caspar, who about this time often attended to his business corre-
spondence.]

Beethoven at the age of 31 (1801.)

BEETHOVENS LETTERS 39

XL To the Same

Vienna, 15th (or something like it) January, 1801.

With great pleasure, my dearly beloved brother and
friend, have I read your letter. I thank you right heartily
for the good opinion you have expressed concerning me and
my works, and hope I may prove myself really worthy of it.
Please also convey my dutiful thanks to Herr K. for his
courtesy and friendly feelings towards me.

Your undertakings likewise make me glad, and I hope,
if works of art can procure gain, that it will fall to the lot
of genuine true artists, rather than to mere shopkeepers.
That you wish to publish the works of Sebastian Bach rejoices
my heart, which beats in unison with the high art of this
forefather of harmony, and I desire soon to see the scheme
in full swing. I hope that here, so soon as golden peace has
been proclaimed, I shall be able to be of great assistance in the
matter, when you issue a subscription list. As regards our
special business, since you wish it, I hope this may be to your
liking : I now offer you the following : Septet (concerning which
I have already written to you ; by arranging it for pianoforte it
would become better known and be more profitable) 20 ducats,
Symphony 20 ducats, Concerto 10 ducats, Grand Solo Sonata
(allegro, adagio, Minuetto, Rondo) 20 ducats. This Sonata is Al,
dearest brother ! Now for a word of explanation ; you will
perhaps be surprised that I here make no difference between
Sonata, Septet, Symphony, because I find that there is not
such a demand for a Septet or a Symphony as for a Sonata ;
that is why I do so, although a Symphony is undoubtedly
of greater value (N.B., the Septet consists of a short intro-
ductory Adagio, then Allegro, Adagio, Minuetto, Andante with
Variations, Minuetto, another short introductory adagio, and
then presto). The Concerto I only value at 10 ducats, because,
as I have already written, I do not give it out as one of my
best. All things considered, I do not think you will find
this excessive ; anyhow I have tried to name prices for you
as moderate as I possibly could. Concerning the money
order, since you leave me the choice, you could make it
payable at Geimiiller's or Schuller's. The full amount would
therefore be 70 ducats for all four works. I do not understand
any other money than Viennese ducats ; how many thalers and
gulden that makes is no affair of mine, for I am a bad business
man and reckoner.

40 BEETHOVENS LETTERS

There is an end of the troublesome business. So I name
it, because I only wish it could be otherwise in the world.
There ought to be an artistic depot where the artist need only
hand in his art-work in order to receive what he asks for.
As things are, one must be half a business man, and how
can one understand — good heavens ! — that's what I really
call troublesome. As for the Leipzig O. [?], let them just go
on talking ; they will never by their chatter confer immor-
tality on any one, neither can they take it away from any
one for whom Apollo has destined it. Now may heaven
have you and yours in its keeping. For some time I have
not been well ; and so it is now somewhat difficult for me
to write notes, still more so alphabet letters. I hope that
we shall often have opportunity to assure ourselves that
you are a great friend to me, and that I am

Your devoted

brother and friend,
L. v. Beethoven.

Send an answer soon — adieu.

[According to the original manuscript in the possession of the
Peters firm. The Sonata referred to as " A 1 " is the B flat Sonata
(Op. 22), first published by Hofmeister and Kühnel. The " Leip-
ziger 0.," Leipzig oxen, or " Leipziger R." as Schumann's paper
has it, which probably stands for " Leipziger Rindfleische," i.e.,
" Leipzig blockheads," were the Leipzig gentlemen of the press,
who, at any rate in the earlyperiod, made sport of Beethoven's art-
work.]

XLI To Madame CHRISTINE VON FRANK,
nee GERHARDI

[End of January, 1801].
Pour Madame de Frank.

I think it my duty, dear Madam, to remind you not to
let your husband forget, in the second announcement of our
concert, that those who have supported it by their talents
ought likewise to be made known to the public. This is the
custom, and if it is not done, I cannot see how a larger audi-
ence is to be expected, which after all is the chief aim of this
concert. Punto is quite out of temper over the matter, and
justly so. It was indeed my intention, even before I had
seen him, to remind you of it ; I can only explain the omission
by great haste or great forgetfulness. Now see at once to

First page of the Pianoforte Sonata C ; Minor Op. 27, No. a). First thirteen bars are missing.

BEETHOVENS LETTERS 41

the matter, my good lady, for if you do not you will certainly
expose yourself to much unpleasantness.

After thinking over the matter, and hearing the opinion
of others, I am convinced that I am not useless in this concert,
and I know that not only myself, but also Punto, Simoni,
Galvani will make a similar demand, in order that the public
be made acquainted with our zeal for the success of this
concert ; otherwise we must all conclude that we are useless.

Truly yours,

L. v. Bthvn.

[This letter was printed first by Nohl, and afterwards by Thayer
from the original in the possession of Dr. Helm of Vienna. The tone
of the writing shows us that the feelings of Beethoven towards
Madame Frank-Gerhardi had somewhat cooled down. The young
master had met with one to whom, as it seemed, he would be bound
for life by ties of affection : this was the Countess Giulietta Guic-
ciardi, the " enchanting maiden." The present letter relates to
the concert which Frau Christine von Frank arranged in the great
Redoutensaal of the imperial castle (January 1801), for the benefit
of the Abounded soldiers of the imperial army. For Punto (Stich)
Beethoven wrote his Sonata for horn and piano (Op. 17). Simoni,
according to Nohl, was a tenor singer. Galvani was most probably
the husband of Beethoven's friend, Magdalena Willmann-Galvani.]

XLII To CAPELLMEISTER HOFMEISTER in

Leipzig

Vienna, April 22, 1801.

You have good cause to complain of me. My excuse
is that I have been ill, and, in addition, have been very busy,
so that it was scarcely possible for me even to think about
what I had to send you ; moreover my affairs are not
always in the best order — perhaps the only mark of genius
of which I can boast — and yet there is no one but myself who
can help. For instance, in the score of my concerto, the
piano part, according to my custom, was not written out,
and I have only just done so ; hence, to avoid delay, you
will receive it in my own, not very legible, handwriting.

In order that the works may follow so far as possible in the
proper order, I point out to you that there should be placed :

on the Solo Sonata . . opus 22.

on the Symphony . . opus 21.

on the Septet . . . opus 20.

and on the Concerto . . opus 19.

42 BEETHOVENS LETTERS

The titles I will send shortly. Put me down as subscriber
to Johann Sebastian Bach's works, also Prince Lichnowski.
The quartet transcription of the Mozart Sonata will reflect
honour on you, and certainly be also profitable. I wish that
I myself could be of more help on such occasions, but I am
not an orderly man, and in spite of the best goodwill, forget
everything ; yet I have spoken here and there about it, and
find every one in its favour. If you, my good brother, in
addition to publishing the Septet, would also arrange the
same for flute, e.g., as a Quintet, you would do a good thing,
for amateur flute players, who have already approached me
on the subject, would swarm round it like insects and feed
on it. To say something more about myself, I have written
a Ballet in which, however, the Ballet master has not made
the best of his part. Baron Lichten stein has also bestowed
on us a product which does not answer to the idea which
the newspapers gave us of his genius ; another specimen of
newspaper criticism. The Baron seems to have taken Herr
Müller at the puppet-show as his ideal, but without even coming
up to that standard. These are the fine prospects amid
which we poor creatures germinate. My dear brother, do
make haste and give the world a sight of the works, and
write to me soon, so that I may know whether through my
dawdling, I have quite lost your further confidence. All
pleasant and kind wishes to your associe Ktihnel. In future
everything shall be ready and sent off promptly. The
Quartets may be published in a few weeks, and now, fare-
well, and continue to love your friend and brother.

Beethoven.

[According to the original manuscript in possession of the Peters
firm. The herein-mentioned Ballet is Op. 43 : Ballo serio : Die
Geschöpfe des Prometheus, produced March 28, 1801. The work,
dedicated to Princess Lichnowsky, was published in pianoforte
score in June 1801 by Artaria and Co., and in 1804, only the overture
in orchestral parts was issued by Hofmeister and Kiihnel. Baron
Karl August Lichtenstein (1767-1845), son of the minister at Gotha,
was active as opera writer, and intendant at the court theatre at
Dessau. In 1800 he went to Vienna and became director of the
court opera and of the ballet.]

BEETHOVENS LETTERS 43

XLIII To the Music Publishers BREITKOPF AND
HAERTEL in Leipzig

Vienna, April 22, 1801.
P. P.

Forgive this late answer to your letter ; for a long time
I have been continually unwell, and overwhelmed with
business matters ; moreover, as I am not the most diligent
of correspondents, this may serve as an extra excuse. With
regard to your request for works from me, I am very sorry
to say that just now I cannot satisfy you. But please be
kind enough to let me know what kind of compositions you
wish to have, symphony, quartet or sonata, etc., so that I
may act accordingly ; and if I have anything of the kind
that you require, be able to place it at your service. At
Mollo's, if I am not mistaken, up to 8 works are coming
out, likewise 4 at Hofmeister's. I may just mention that
Hofmeister is publishing one of my first concertos, and
Mollo, one actually composed later, but neither do I reckon
among my best of the kind. This is just a hint for your
Musikalische Zeitung with regard to the reviews of these
works, though they can be best judged if one can hear them
well performed. Musical policy necessitates the keeping to
one's self for a time the best concertos. Advise your critics
to exercise more care and good sense with regard to the
productions of young authors, for many a one may thereby
become dispirited, who otherwise might have risen to higher
things ; for myself, though I am indeed far from considering
myself to have attained such a degree of perfection as to be
beyond censure, the outcry at first of your critics against me
was so humiliating, that when I began to compare myself
with others, I could scarcely blame them ; I remained quite
quiet, and thought they do not understand it. And I had
all the more reason for being quite quiet when I saw how
men were praised up to the skies who here are held of little
account by the better musicians in loco, and who here are
almost forgotten, however honest they may have been. But
now pax vobiscum — peace with you and me — I would never
have mentioned a syllable about it, had it not been done by
you yourselves.

When I recently visited a good friend of mine, and he
showed me the amount which had been collected for the daughter
of the immortal god of harmony, I was astonished at the small

44 BEETHOVENS LETTERS

sum which Germany, and especially your Germany had
thought sufficient for the person worthy to me of honour on
account of her father. And that leads me to the idea, how
would it be if I published something by subscription for this
person's benefit, and publickly announced the amount and
the yearly interest, so as to protect myself from any attack
— you could help most in the matter. Answer quickly how
this can best be brought about so that it may be done before
this daughter of Bach dies, before this brook dries up, and
we can no longer supply it with water. That you must publish
this work is of course understood.

I am, with all esteem,
Your devoted,

Ludwig van Beethoven.

[Given by Thayer (II. 128) from Jahn's copy. This first letter
to the eminent firm of Breitkopf and Härtel is in many ways in-
teresting. It shows the rancour and repugnance felt by Beethoven
through the abuse in the columns of the Allgemeine Mus. Ztg. It
was now no small triumph for the composer that, in spite of the
treatment he had received in the paper appearing under their aegis,
they applied to him for compositions. The connection proved
indeed fruitful. Peace between them was concluded, Beethoven
adding words of wisdom respecting the nature and duties of critics,
after that the firm had to a certain extent saved itself. Beethoven's
depreciation of his first two pianoforte concertos in C and B flat,
need not cause surprise, for the far superior third one in C minor
(Op. 37) had long lain in his desk ; though finished in 1800 it only
appeared in print in 1804. Finally we have in this letter new proof
of Beethoven's admiration for the genius of Bach. In the same
year, in a letter to Hofmeister, he had spoken of the great art of this
progenitor of harmony. It was now a question of doing something
for Regina Johanna, the youngest child of J. S. Bach, who was
living alone, and in poverty. F. Rochlitz, the editor of the Allge-
meine Mus. Ztg. therefore properly issued an appeal to the public
in her favour. In it he says : " And this daughter, now aged —
this daughter is in want ; this last branch of so fruitful a stem
ought not to be left to wither and die." This brought help. Bach's
daughter passed the last days of her existence in ease and cheerful-
ness.] [" Bach " in German means " brook," so Beethoven does
not lose the chance of a play upon the word. — Tr.]

BEETHOVENS LETTERS 45

XLIV To CAPELLMEISTER HOFMEISTER in Leipzig

Vienna, June 1801.

I am really somewhat astonished at what you have said
to me through the representative of your firm here ; that
you should think me capable of such a mean trick is enough
to grieve me. It would be otherwise had I only disposed
of my music to covetous dealers, and then, in an underhand
way, made another good speculation ; but artist against
artist, it is rather hard lines to suspect me of such a thing.
The whole affair seems to me to have been thoroughly
thought out in order to test me, or to be mere conjecture.
Anyhow I inform you, that, before you received the Septet,
I sent it to London to Mr. Salomon (so that he might perform it
at his concert, and this solely by way of friendship), but added
that he must be careful not to let it get into other people's
hands, as I intended to have it published in Germany. Con-
cerning which, if you think it necessary, you can make
inquiry of Salomon himself. But as further proof of my
honesty, / herewith give you my assurance in writing, that to
you only, Herren Hofmeister and Kühnel, have I sold the
Septet, the Concerto, the Symphony and the Sonata, and that
you can consider them your property exclusively ; and for this
I give you my word of honour. Anyhow, you can make what
use you please of this assurance — for the rest I think it just
as unlikely that Salomon would be so base as to publish the
Septet, as that I should have sold it to him. I am so con-
scientious, that I refused the piano arrangement of the Septet
to various publishers who asked me for it, yet I do not even
know whether you will publish anything of the kind. Here
follow the long-promised titles of my works :

Concert pour le piano-forte avec deux violons, viola, basse
et violoncelle, une flute, deux oboes, deux cors, deux fagots,
compose et dedie ä Monsieur Charles Nikl noble de Nikelsberg
Conseiller aulique de sa Majeste Imperiale et Royale par
Louis van Beethoven. CEuvre 19

Septette pour un violon, viole, violoncelle, contre basse,
un cors, une clarinette, un fagot. Compose et dedie a sa
Majeste l'imperatrice et Reine par louis van Beethoven.

(Euvre 20.

46 BEETHOVENS LETTERS

grand Symphonie avec deux violons, viole, violoncelle
et contre basse, deux flute, deux oboe, deux cors, deux fagots,
deux clarines et tymbales. Composee et dediee ä son altesse
serenissime maximilien frangois Prince Royal d'hongrie et
de Boheme Electeur de Cologne, etc., par louis van Beethoven.

(Euvre 21.

grande sonate pour le piano-forte composee et dediee ä
Monsieur le comte de Browne Brigadier au service de S.M.J,
de touttes les Russies par louis van Beethoven.

GEuvre 22.

There will be many things to alter and improve in the
titles, that I leave to you. I shall expect a letter from you
shortly, and soon too the works which I wish to see engraved,
as later ones have been and will be published which are
related to these [opus] numbers. I have also written to
Salomon, but as I look upon your statement as mere report
which you somewhat too easily accepted, or as mere conjecture
which — having heard in some way or other that I sent it to
S. — forced itself on you. To such credulous friends, I can
only, with a certain coldness call myself,

Your friend,
L. v. Bthvn.

[According to the original manuscript in possession of the C. F.
Peters firm. The letter itself bears no date, but on it the firm has
made the following entry : " Beethoven in Vienna, the . . . June
1801 ; received on the 29th." Johann Peter Salomon, born about
1745, like Beethoven, was a native of Bonn, and he was a distin-
guished violinist. After holding many posts in Germany, he settled
in London, where he zealously supported the cause of German
music. It was through his efforts that Haydn in 1790 made his
first triumphal journey to England. Owing to a fall from his horse
he died in 1815 ; and in what high esteem he was held is evident
from the fact that he was buried in Westminster Abbey. The
dedication in this letter of the first Symphony to the Elector, Maxi-
milian Franz, is quite surprising. Beethoven, then, still in the
year 1801, must have been in communication with his former
Elector. The Symphony, however, which Hofmeister and Kühnel
published in the same year was dedicated to Baron Swieten ; this
change was probably owing to the death of the Elector in July, a
month after this letter was written.]

BEETHOVENS LETTERS 47

XLV To Countess GIULIETTA GUICCIARDI

July [1801?]
On the 6th July in the morning.

My angel, my all, my very self,

Just a few words to-day, and indeed in pencil — (with
thine) only till to-morrow is my room definitely engaged,
what an unworthy waste of time in such matters — why this
deep sorrow where necessity speaks. Can our love endure
otherwise than through sacrifices, through restraint in
longing. ' Canst thou help not being wholly mine, can I,
not being wholly thine/" Oh ! gaze at nature in all its beauty,
and calmly accept the inevitable — love demands everything,
and rightly so. Thus is it for me with thee, for thee with me,
only thou so easily forgettest, that I must live for myself
and for thee — were we wholly united thou wouldst feel this
painful fact as little as I should — my journey was terrible.
I arrived here only yesterday morning at four o'clock, and
♦as they were short of horses, the mail-coach selected another
route, but what an awful road ; at the last stage but one
I was warned against travelling by night ; they frightened
me with a wood, but that only spurred me on — and I was
wrong, the coach must needs break down, the road being
dreadful, a swamp, a mere country road ; without the postil-
lions I had with me, I should have stuck on the way.
Esterhazi, by the ordinary road, met with the same fate
with eight horses as I with four — yet it gave me some
pleasure, as successfully overcoming any difficulty always
does. Now for a quick change from without to within ;
we shall probably soon see each other, besides, to-day I
cannot tell thee what has been passing through my mind
during the past few days concerning my life — were our hearts
closely united, I should not do things of this kind. My
heart is full of the many things I have to say to thee — ah ! —
there are moments in which I feel that speech is powerless
— cheer up — remain my true, my only treasure, my all ! ! !
as I to thee. The gods must send the rest, what for us
must be and ought to be.

Thy faithful,

Ludwig.

48 BEETHOVENS LETTERS

Monday evening, July 6.

Thou sufferest, thou my dearest love. I have just found
out that the letters must be posted very early Mondays,
Thursdays — the only days when the post goes from here to
K. Thou sufferest — Ah ! where I am, art thou also with
me ; I will arrange for myself and Thee. I will manage so
that I can live with thee ; and what a life ! ! ! ! But as it
is ! ! ! ! without thee. Persecuted here and there by the
kindness of men, which I little deserve, and as little care to
deserve. Humility of man towards man — it pains me —
and when I think of myself in connection with the universe,
what am I and what is He who is named the Greatest ; and still
this again shows the divine in man. I weep when I think
that probably thou wilt only get the first news from me on
Saturday evening. However much thou lovest me, my
love for thee is stronger, but never conceal thy thoughts from
me. Good-night. As I am taking the baths I must go to
bed [two words scratched through]. O God — so near ! so
far ! Our love, is it not a true heavenly edifice, firm as
heaven's vault.

Good morning on July 7.

While still in bed, my thoughts press to thee, my Beloved
One, at moments with joy, and then again with sorrow,
waiting to see whether fate will take pity on us. Either I
must live wholly with thee or not at all. Yes, I have resolved
to wander in distant lands, until I can fly to thy arms, and
feel that with thee I have a real home ; with thee encircling
me about, I can send my soul into the kingdom of spirits.
Yes, unfortunately, it must be so. Calm thyself, and all
the more since thou knowest my faithfulness towards thee,
never can another possess my heart, never — never — O God,
why must one part from what one so loves, and yet my life
in V. at present is a wretched life. Thy love has made me
one of the happiest and, at the same time, one of the un-
happiest of men — at my age I need a quiet, steady life — is
that possible in our situation ? My Angel, I have just heard
that the post goes every day, and I must therefore stop, so
that you may receive the letter without delay. Be calm,
only by calm consideration of our existence can we attain
our aim to live together — be calm — love me — to-day —
yesterday — what tearful longing after thee — thee — thee —

BEETHOVENS LETTERS 49

my life — my all — farewell — Oh, continue to love me — never
misjudge the faithful heart

Of Thy Beloved
ever thine L.

ever mine
ever each other's.

[According to the original manuscript in the Berlin royal library
it is, and will remain the finest, most wonderful of all Beethoven's
letters, which, so often as it is read, touches one to the quick with
its glowing words of love and wisdom. It is also the most hotly
debated af all Beethoven letters as regards the embodiment of the
" Immortal Beloved One." Again and again has it been reprinted
in Beethoven literature. The first to make it known — already in
1840 — was Anton Schindler, who probably was present at the finding
of the tripartite letter. He merely says (" Beethoven," third Ed.
I. 97) : " Stephan von Breuning found it, after his friend's death,
together with other important documents, in a secret little drawer
of a cash box." Was it sent back after the rupture in 1803 ? Who
can say ? Dr. Gerhard von Breuning, Beethoven's " Ariel und
Hosenknopf," in his book " Aus dem Schwarzspanierhause " (p.
112) describes in detail the seeking after bonds left by Beethoven,
adding : " The scene, according to father's later account, was
becoming gradually more and more unbearable, when by chance
Holz pulled out a nail projecting from a box, causing a panel to
fall out, and with it the bonds for which there had been such long
search." To this was appended the footnote : " These bonds were
not therefore, as stated in the Grazer Tagespost, found with the letters
to the Countess Giulietta Guicciardi in the secret drawer of the
writing-desk now in my possession." Stephen von Breuning,
Carl Holz, and Schindler who received the letters, and others, were
present in the death-room when the letter to the " Immortal Beloved"
was discovered. As, even after Schindler had published this tri-
partite love-letter, doubt was expressed as to the existence of an
original document, he gave an excellent facsimile of the second
part in pencil, with the date " Monday evening, July 6," in the
third edition of his Beethoven Biography. Ludwig Nohl in his
reproduction of these letters " To the Countess Giulietta Guic-
ciardi," boasts that " These letters to the Immortal Beloved to
whom the C sharp minor sonata is dedicated, are here for the first
time reproduced with diplomatic [? !] fidelity from the original
written in pencil on fine letter-paper " (Briefe Beethoven, p. 21,
footnote). Now, if this is a question of diplomatic fidelity, words,
orthography, and punctuation, everything is of importance.
And, it will cause astonishment to learn that I was able to note
more than 70, let us say seventy, variations from the original.
It is by no means easy to reproduce exactly a Beethoven letter.

1 D

50 BEETHOVENS LETTERS

I myself reproduced the one in question in my " Die Unsterbliche
Geliebte Beethovens " (Dresden, 1891) ; yet now looking once again
over the whole, there turned out a small gleaning of trifling errors.
The attempt of A. W. Thayer together with the writer, Mariam
Tenger, to palm off the Countess Therese Brunswick as Beethoven's
" Immortal Beloved " must now be regarded as having totally
failed. There is no need for me again to present my argument
against such proceedings. I refer readers to my already named
work published in 1891, and to my detailed study of the Countess
Giulietta Guicciardi in several numbers of the 4th section of " Beet-
hoven's Frauenkreis," published in the Neue Berliner Musikzeitung
(August 31, 1893, etc.). The height of folly in this controversy
has been reached by Dr. Th. Frimmel who, not once, but repeatedly
would have us regard the love-letter as addressed to Magdalene
Willmann. To associate a lady who is connected with Beethoven's
life only by a humorous episode, with the impassioned outpouring
of a loving soul, is sufficient proof that to this commentator,
Beethoven's ways absolutely remain a terra incognita.

Documentary evidence shall now be brought forward to show
that Beethoven, even after the rupture, took uninterrupted interest
in Countess Guicciardi, afterwards Countess Gallenberg. First of
all I shall briefly give events in chronological succession. In 1800
Beethoven writes to his friend Wegeler about his " enchanting
maiden." In the summer of 1801 the wonderful love-letter is written
from a watering-place unknown to us. Circumstances render
separation imperative, and by the year 1802 a complete rupture
has taken place. This heartrending event was largely the cause
of the young master's severe illness. Weariness of life, complete
resignation, accordingly breathe forth from the well-known " Heili-
genstadt Will." Yet in the following year there is an echo of this
heart's sorrow, as may be clearly seen in a letter of Beethoven's
(November 2, 1803) to his friend, the painter Macco. In it occur
the following words : " For the rest I was sad at not being
able to see more of you here, but there are periods in one's life
which have to be overcome.'" Nohl, who communicates this
letter (" Neue Briefe Beethovens," p. 5) declares it to be both to
the point and most interesting in that "it is a distinct echo of
Beethoven's sad mood during the spring and summer of 1802, and
thus helps to fix the point of time of the breaking off of his love-
connection with the Countess Giulietta Guicciardi." I will not
here suppress the fact, that Nohl, like many another writer on
Beethoven, later on changed his opinion with regard to this matter.
But at the present day there is scarcely any serious Beethoven inves-
tigator who accepts the Thayer-Tenger thesis. Max Hehemann, the
translator and reviser of Sir George Grove's " Beethoven and his
Nine Symphonies," may be cited as a pleasing, and quite recent
example. Grove in this matter overtrumps both Thayer and

BEETHOVENS LETTERS 51

Mariam Tenger in that he most unintelligibly connects the 4th and
even the 5th symphony with the love-letters. Hehemann says
" I have expunged everything in the work from Mariam Tenger's
pamphlet on the Immortal Beloved ; this ranged not only over the
4th, but also over the 5th symphony. Kalischer's deductions were
for me too convincing to allow the Tenger pamphlet to pass as an
authentic source."

It is beyond dispute that among all the women who had a place
in Beethoven's heart, it was the Countess Gallenberg-Guicciardi,
alone for whom, even after the separation, he showed constant
interest. That must be clear to every one from the conversations
between Beethoven and Schindler which took place in the year
1823 — twenty years after the parting. These have been preserved,
and must be given here exactly as they stand in the original manu-
script. The conversations are in Book D. 10 of February 1823,
at a time when Count Rob. Wenzel Gallenberg, Giulietta's husband,
was in Vienna as co-administrator of the Italian Opera under
Barbaja. Therein we read :

(Sheet 31 b. Schindler writes) : " now what about Fidelio.
What can I do to hurry on the matter ? "

(Beethoven) : Steiner really has the score."

(Schindler) : I am going to Count Gallenberg who will
willingly lend you the score for a time."

(32a) : " It would be best for you to have a copy made
at your own expense."

[Other remarks follow concerning the copying. The reader
must bear in mind that at this time there was much talk in
Beethoven's circle of friends about a new opera. Then again
Schindler :]

(33a) : " I will go to-morrow morning to Gallenberg,
and will also work diligently and swiftly at the embassy,
for I am fortunately free for some days."

[In the course of conversation reference is made to the New
Year, hence a portion of this Conversationsheft may belong to
January.

Further on we learn the result of Schindler's first visit to
Gallenberg] : ...

(Sheet 39a) : " Gallenberg presents his compliments, and
will send you the score, if they have two copies ; should this
not be the case, he will have the score copied for you. I am
to go back to him in two days."

52 BEETHOVENS LETTERS

[What is written on Sheet 41 has no connection with the preced-
ing on Sheet 406. This offers further proof that detached sheets
have been bound together. On 41a Schindler writes :]

" to-day he [Gallenberg] did not inspire me with any great
respect for him.''''

(Beethoven) : " I was his invisible benefactor through
others."

(Schindler) : " He ought to know that, so as to show
more respect for you than he appears to have."

I ' [The subject is now dropped, but after a digression about food
and press matters, is resumed. Beethoven speaks (Sheet 42a)] :

" So it seems you found G. none too well disposed towards
me ; this, however, does not matter to me, yet I should like
to know how he expressed himself."

(Schindler, Sheet 436) : " He replied that he thought
you yourself must have the score ; but when I assured him
that you really had not got it, he said that your unsteadiness
and constant wandering about was the cause of your having
lost it.

" What business is that of people ? — still more, who will
trouble about such men ? "

(436) : " What then are you thinking of doing about the
works at Steiner's ? still keep silence ? Dr. Bach * also
recently asked me about this."

" I thought you wished to keep the score for yourself,
because you had not got a copy."

" Also give away the five-part fugue for nothing ? — my
dear friend and teacher, that is far too generous for such
men. You will only be laughed at."

[And now only follow Beethoven's words concerning the queen
of his heart, as Schindler moreover, specially remarks : " the present
Countess Gallenberg, nee Countess Guicciardi."

(Beethoven, Sheet 446) : " j'etois bien aime d'elle et plus
que jamais son epoux."

" il etoit pourtant (446) plutot son amant que moi, mais
par eile [many scratchings out and changes] j'en apprinois
de son misere et je (45a) trouvais un homme de bien qui me
donnait la somme de 500 fl. pour le soulager.

(456) "il etoit toujours mon ennemi, et c'etait justement
la raison que je fusse tout le bien (46a) que possible."

(Schindler) : " That is why he also said to me ' he is an

* Dr. Joh. Bach was Beethoven's lawyer and intimate friend.

BEETHOVEN'S LETTERS 53

unbearable man ' out of pure gratitude probably. But,
master, forgive them, for they know not what they do ! ! "

(46ft) : " Mad. la Comtesse ? "

" etait eile riche ? "

" eile a une belle figure jusqu'ici."

"Mons. G. ?"

" est ce qu'il y a longtemps, qu'elle est mariee avec
Mons. de Gallenberg ? "

(Beethoven) :

eile est nee
Guicciardi.

(476) : " ell'etait prise (?) qu'epousse de lui avant [son
voyage : (Schindler)] de l'ltalie — [arrive a Vienne (Schindler)]
eile cherchait moi pleure-ant, mais je la meprisois."

(47b Schindler) : " Hercules at the parting of the ways ! "
(Beethoven) : " Had I chosen to give away my vital
power with my life, what would have remained (48a) for
that which is noble, better ?

[These conversations were carried on in a public place, not in
Beethoven's house. The passages have been reproduced with the
utmost care from the Conversation Books in the Berlin royal library.
Of variants there has been no lack in the various Beethoven
biographies.

As conclusion to this love-letter story I give the noble words of
an anonymous writer, which I recently found among the Schindler
papers. In No. 14 of the great portfolio there is a sketch " Beet-
hoven " (Hamburg and Itzehoe), published by Schubert and
Niemeyer (8 printed pages), in which mention is made of two strokes
of fate in the composer's life. Anonymous says :

" The first [stroke of fate] which actually fell on him at an earlier
period, and which later on invested his muse with deep melancholy,
was a most unfortunate love which took possession of his whole
nature with a bitterness capable of stirring to its very depth and
crushing such a noble, deeply sensitive heart. The great worthy
soul thought itself understood, thought that it had found sympathy
and love, and like many a noble, manly soul had staked the quin-
tessence of its whole happiness in life on a false die — its name was
woman. He was deceived in the grossest, or we ought rather to say,
in most ordinary manner, and like a gigantic oak whose roots are
pierced by a poisonous worm, pined away."]

54 BEETHOVENS LETTERS

XLVI To BARON ZMESKALL-DOMANOVECZ

[1801 ?]

Excellent Mr. v. Zmeskall, most excellent,

Kindly pluck some feathers * out of yourself, and put
them on us. We have tried to do without you, but we must
shortly beg your Mastership to communicate to us the secret
of your skill, which we recognise to the full — quills, of
which we are at present in want, we have none ; we therefore
entreat you, do not be angry with us for thus troubling you,
for we were forced to it. Soon, however, I will bring some
with me, from which you can complete your set. Heaven
protect you,

Beethoven.

[According to the Allg'Mus. Ztg., February 17, 1869. A note by
Thayer below the letter makes it probable that he communicated
this letter concerning the art of quill-cutting. The original was
formerly in the possession of Mr. Robert Lonsdale, London.]

XLVII To the Same

[1801-1802 ?]

I am writing to you, dearest Count, on my very best
paper, to beg you kindly to play in the Septet at Odescalchi's,
Schindleker is not here, and the music would have to be
abandoned if you did not play ; moreover, suspicion would
certainly fall on me, as if I had been neglectful.

I therefore entreat you M.C. [Musical Count] not to
refuse me this kindness. You shall certainly be treated
with the highest consideration ; Prince Odescalchi will
himself write to you to-morrow on the matter.

The rehearsal is early to-morrow, about eleven o'clock.
I send you the score, so that you may look through the solo
of the last Menuet, which, as you know, is the most difficult.

I expect you,
Your Bthvn.

[According to Thayer (II. 61) who formerly (1872) possessed the
original. The rehearsal was to take place at the house of Prince
Odescalchi, to whose wife as Countess Babette von Keglevics the
sonata in E flat (Op. 7), was dedicated, and as Princess Odescalchi,
the 1st pianoforte concerto in C (Op. 15). Philipp Schindloecker

* Beethoven is constantly playing upon words. The German Feder, feather, is
commonly used for "pen," or as here, "quill-pen."

BEETHOVENS LETTERS 55

( here Schindleker) was the regular 'cellist at these musical festivities,
but being absent, Baron Zmeskall was taking his place. Schind-
loecker, a distinguished artist, was appointed Imperial Chamber
'cellist in 1806. He was born in 1753, and died in 1827, three weeks
after Beethoven. Heinrich Eppinger, who took first violin part
in the Septet, was probably an amateur, but one of the most distin-
guished violinists of the day. J

XLVIII To FERDINAND RIES

[1801]
Dear Ries,

Select the four best-written parts, look through them,
and then mark them as No. 1. When you have properly
compared them with the score and corrected them, then take
the other part?, and compare them with those you have
corrected. I beg you to do this as carefully as possible.

[The late Dr. Deiters, who undertook the praiseworthy task of
completing and revising the letters of Beethoven to his pupil Ries
(Vierteljahrschrift für Musikwissenschaft. Year IV. 1st Quarter),
rightly considered that the letter in question concerned a perform-
ance, probably of the " Prometheus " Ballet ; also that it is certainly
connected with the two about to follow.]

XLIX To the Same

Here, dear Ries ! take at once the four parts which I have
corrected, and look through the others which have been
copied therefrom, and if you feel sure that four of the
copied parts are quite right, and most carefully corrected,
I now send the day after to-morrow the 4 parts marked
No. 1, and then you can correct the others from those you
have looked through. Here is the letter to Count Browne ;
I have told him he must advance to you the 50 ducats,
because you have to get an outfit. This is necessary, and
he can't take offence. When this is done, you will have
to go with him to Baden next week, already on Monday.
I must, however, reproach you for not having applied to me
already long ago ; am I not your true friend ? Why did
you hide your trouble from me ? So long as I have anything,
not one of my friends shall be in want. I would already
have sent you a small sum to-day, but I counted on Browne.
If he fail, apply at once to your friend.

Beethoven.

56 BEETHOVENS LETTERS

[According to Dr. Deiters. The kindly feelings of Beethoven
towards his pupil for whom — as already mentioned — he had pro-
cured the post of pianoforte teacher in Browne's house, are clearly
displayed in this letter.]

L To the Same

[1801]
Dear Riess,

I earnestly beg you to see that I get the list this very
day. You must, willy-nilly, look through the violin parts,
and you must do it to-morrow, for, as you probably know,
the rehearsal takes place the day after.

[According to Dr. Deiters. This small note bears no date.]

LI To CAPELLMEISTER HOFMEISTER in Leipzig

Vienna, April 8, 1802.

Gentleman, are you then all possessed of the devil, to
propose to me such a Sonata ? At the time of the Revolution
fever that would have been all very well, but now, as every-
thing is seeking to return to the beaten track — and the
Concordat drawn up between Buonaparte and the Pope —
a sonata of this kind ? If only it were a Missa pro Sancta
Maria a ire voci, or a Vesper, etc., then I would at once take
pencil in hand, and with great pound notes [Pfundnoten] write
down a Credo in unum, but, good heavens, such a Sonata
in these newly commencing Christian times — hoho — leave me
out of it, nothing will come of it. Now, I will give you my
answer in most rapid tempo. The lady can have a
Sonata from me, and as regards esthetics, I will in general
follow her scheme — and without following — the keys — the
price, let us say 5 ducats. For that, it will belong to her for one
year, neither of us, however, to be at liberty to publish it.
At the expiration of this year the Sonata is only mine to — i.e.,
I can and shall publish it, and she can, if she thinks to gain
any honour thereby, request me to dedicate it to her. And
now, gentlemen, God have you in His keeping.

My Sonata is beautifully printed, but it has taken a jolly
long time. Send my Septet into the world at a more rapid
rate, because the rabble is waiting for it, and you know
the Empress has it, — and there are scamps in the Imperial

BEETHOVENS LETTERS 57

city as well as at the Imperial court. But I won't vouch for
it, so look sharp. Herr Mollo has again recently published my
Quartets, let us say full of faults and Errata, great and small ;
they swarm like fish in water, i.e., there's no end to them.
Questo e un piacere per un autore. That's what I call printing ;
my skin is all over prickings and chaps from the beautiful
editions of my quartets. Now farewell, and remember me
as I do you. Until death, your faithful,

Beethoven.

[According to the original manuscript in the possession of the
Peters firm at Leipzig. The here-mentioned Sonata is the " great
Sonata " in B flat (Op. 22). The Quartets are the six of Op. 18.
The letter was, as noted by the firm, received on April 16 ; in those
days a letter sent from Vienna took a week to reach Leipzig.]

LII To the Publishing House of BREITKOPF AND
HAERTEL, Leipzig

[Vienna, April 22, 1802]

I intend, sirs, to write to you shortly ; much business,
also many worries, render it useless for me to attend to
many things for some time. Meanwhile you can trust my
brother, who, indeed, attends to all my affairs.

With high esteem,
Yours truly,

Beethoven.

[The head of the B. and H. firm kindly placed the 38 original
letters of Beethoven in the hands of Prof. Dr. A. Kopfermann at
Berlin for my use. A few copies of these letters are marked as
" printed manuscript." They are not in circulation in the book-
shops ; hence this and the other letters may be described as un-
published. The " many occupations " and "many worries " point
directly to the rupture with Giulietta Guicciardi, which weighed
so heavily on Beethoven's mind — precursors of the severe illness
in this year, all expressed most pathetically in the " Heiligen-
stadt Will." At this time, and up to about 1805, his brother,
Caspar Carl, attended to his business affairs.]

LIII To the Same

(Fragment) July 13, 1802.

.... With regard to arrangements, I am heartily glad
that you decline them. The unnatural mania, at the present

58 BEETHOVENS LETTERS

day, to wish to transfer pieces for the pianoforte to string
instruments, which in every way are so different, ought to
be stopped. I firmly assert that only Mozart himself could
transfer his pianoforte music to other instruments, and the

-2» same of Haidn ; and without placing myself on a level with
these two great men, I make the same assertion with respect
to my pianoforte sonatas ; not only would whole passages have
to be omitted or entirely rewritten, but further additions made
— and herein lies the true stumbling-block — to overcome which
there must be either the master himself, or at least one possessing

*-> the same skill and inventive power. I changed just one
sonata of my own into a quartet for strings, which I was
pressed to do, and am sure that no other man could have
accomplished the task as I have done.

[According to Jahn's copy. On it is marked " Hand- writing of
Julius Klees," also " from a letter of Beethoven's to B. and Haertel,
dated Vienna, July 13, 1802 (the original, so far as I know, was
presented by Haertel to Billroth)." From it this highly instructive
fragment was incorrectly published by Thayer (II. 183). The
question here arises, which sonata did Beethoven himself transform
into a quartet ? It was probably the Sonata in E (Op. 14, No. 1),
which was published in the key of F in 1802 under the following
title, " Quatuor pour deux Violons, Alto et Violoncelle, d'apres une
Sonate composee et dediee a Madame la Baronne de Braun par
Louis van Beethoven arrange par lui-meme. A Vienne au Bureau
d'Arts et d'lndustrie." A comprehensive and interesting article
by Dr. W. Altmann, entitled " A forgotten string quartet by Beet-
hoven," appeared in Die Musik (II. November Heft, 1905). Ries's
positive statement that Beethoven himself only made four transcrip-
tions, among which he does not name one of a sonata, must not be
taken too literally. He adds : " Many other things were arranged
by me and looked through by Beethoven, and then sold by his
brother Caspar (Carl) under Beethoven's name" (" Biog. Notizen,"
new edition, p. 113).]

LIV To the Music Publishers HOFMEISTER and

KÜHNEL

July 14, 1802.

The merchant, for whom you so magnanimously shed
your blood, has not turned up. I am sorry, for I would
also have sacrificed some of my own blood, so as to spare
yours. The Septet in two parts does not please me, why ?
and how ? A copy on finer paper for the Empress would

BEETHOVENS LETTERS 59

have been the proper thing, but it will do as it is. I have
recently been busy at composition ; only say what you want.
What is there new in your learned Leipzig ? I am in the
country, and leading a somewhat lazy life, but only to be
afterwards all the more industrious. As always your true
friend Beethoven.

[Published by Dr. Th. Frimmel from the original in the possession
of Professor Alois Hauser in Vienna, in the Wiener Mus. Zeitung, then
in " Neue Beethoveniana " (1888). It is therefore one of the few Peters
letters which passed into other hands. The Septet, after all, was
published by Hofmeister and Kühnel at Leipzig in 1802, and in
two parts ; the first included the first three movements, the second
the remaining ones. The introductory words are easy of explana-
tion. A merchant, an amateur, had evidently applied to Hofmeister,
who enjoyed high reputation as a composer, for a new work for his
own private use, as was the custom in those days. Hofmeister
consents, "sheds his blood," and then recommends the merchant
to Beethoven, to whom he evidently writes on the subject. From
the time of this jovial letter down to the " Heiligenstadt Will " in
October, we have no Beethoven letter.]

LV For my brothers CARL and — BEETHOVEN

O ye men who regard or declare me to be malignant,
stubborn or cynical, how unjust are ye towards me. You
do not know the secret cause of my seeming so. From
childhood onward, my heart and mind prompted me to be
kind and tender, and I was ever inclined to accomplish great
deeds. But only think that during the last six years, I have
been in a wretched condition, rendered worse by unintelligent
physicians. Deceived from year to year with hopes of
improvement, and then finally forced to the prospect of
lasting infirmity (which may last for years, or even be totally
incurable). Born with a fiery, active temperament, even
susceptive of the diversions of society, I had soon to retire
from the world, to live a solitary life. At times, even, I
endeavoured to forget all this, but how harshly was I driven
back by the redoubled experience of my bad hearing. Yet
it was not possible for me to say to men : speak louder,
shout, for I am deaf. Alas ! how could I declare the weak-
ness of a sense which in me ought to be more acute than in
others — a sense which formerly I possessed in highest per-
fection, a perfection such as few in my profession enjoy, or
ever have enjoyed ; no, I cannot do it. Forgive, therefore,

60 BEETHOVENS LETTERS

if you see me withdraw, when I would willingly mix with you.
My misfortune pains me doubly, in that I am certain to be
misunderstood. For me there can be no recreation in the
society of my fellow creatures, no refined conversations, no
interchange of thought. Almost alone, and only mixing
in society when absolutely necessary, I am compelled to live
as an exile. If I approach near to people, a feeling of hot
anxiety comes over me lest my condition should be noticed
— for so it was during these past six months which I spent in
the country. Ordered by my intelligent physician to spare
my hearing as much as possible, he almost fell in with my
present frame of mind, although many, a time I was carried
away by my sociable inclinations. But how humiliating
was it, when some one standing close to me heard a distant
flute, and I heard nothing, or a shepherd singing, and again I
heard nothing. Such incidents almost drove me to despair ;
at times I was on the point of putting an end to my life —
«a, art alone restrained my hand. Oh ! it seemed as if I could
o> not quit this earth until I had produced all I felt within me,
and so I continued this wretched life — wretched, indeed,
with so sensitive a body that a somewhat sudden change can
throw me from the best into the worst state. Patience, I am
told, I must choose as my guide. I have done so — lasting,
I hope, will be my resolution to bear up until it pleases the
inexorable Parcae to break the thread. Forced, already in
my 28th year to become a philosopher, it is not easy ;
for an artist more difficult than for any one else. O Divine
Being, Thou who lookest down into my inmost soul, Thou
understandest ; Thou knowest that love for mankind and a
desire to do good dwell therein. Oh, my fellow men, when
one day you read this, remember that you were unjust to
me, and let the unfortunate one console himself if he can find
one like himself, who in spite of all obstacles which nature
has thrown in his way, has still done everything in his power
to be received into the ranks of worthy artists and men.
You, my brothers Carl and — , as soon as Lam dead, beg
Professor Schmidt, if he be still living, to describe my malady ;
and annex this written account to that of my illness, so that
at least the world, so far as is possible, may become reconciled
to me after my death. And now I declare you both heirs
to my small fortune (if such it may be called). Divide it
honourably and dwell in peace, and help each other. What
you have done against me, has, as you know, long been
forgiven. And you, brother Carl, I especially thank you

BEETHOVENS LETTERS 61

for the attachment you have shown towards me of late.
My prayer is that your life may be better, less troubled by
cares, than mine. Recommend to your children virtue ; it
alone can bring happiness, not money. I speak from experi-
ence. It was virtue which bore me up in time of trouble ;
to her, next to my art, I owe thanks for my not having laid
violent hands on myself. Farewell, and love one another.
My thanks to all friends, especially Prince Lichnowski and
Professor Schmidt. I should much like one of you to keep
as an heirloom the instruments given to me by Prince L.,
but let no strife arise between you concerning them ; if
money should be of more service to you, just sell them. How
happy I feel, that even when lying in my grave, I may be
useful to you.

So let it be. I joyfully hasten to meet death. If it come
before I have had opportunity to develop all my artistic
faculties, it will come, my hard fate notwithstanding, too
soon, and I should probably wish it later — yet even then I
shall be happy, for will it not deliver me from a state of
endless suffering ? Come when thou wilt, I shall face thee
courageously — farewell, and when I am dead do not entirely
forget me. This I deserve from you, for during my lifetime
I often thought of you, and how to make you happy. Be
ye so.

t Ludwig van Beethoven.
Heiglnstadt, the 6th of October, 1802.
/ [Black seal]

[On the 4th side of the great Will sheet.]

" Heiglnstadt, October, 1802, thus I take my farewell
of thee — and indeed sadly — yes, that fond hope which I
entertained when I came here, of being at any rate healed up
to a certain point, must be entirely abandoned. As the
leaves of autumn fall and fade, so it has withered away for
me ; almost the same as when I came here do I go away —
even the High courage which often in the beautiful summer
days quickened me, that has vanished. O Providence, let
me have just one pure day of joy; so long is it since true
joy filled my heart. Oh when, oh when, oh Divine Being,
shall I be able once again to feel it in the temple of nature
and of men. Never — no — that would be too hard.

" For my brothers Carl and — to execute after my
death."

(32 BEETHOVENS LETTERS

[According to the facsimile which Dr. Wilibald Nagel published
in the 1st Beethoven number of Die Musik (2nd March number,
1902), a work deserving of thanks, seeing that all publications
from Schindler onwards, are full of faults. It first appeared in the
Leipzig Allgemeine Musikalische Zeitung (Oct. 17, 1827) about six
months after Beethoven's death. In that paper it was stated that
a copy had been sent to Moscheles in London, to be distributed
among the worshippers of Beethoven in that city. Did Beethoven
actually omit the name of his younger brother ? Or was not
rather the name " Johann " erased after Beethoven's death ? Or,
finally — did Beethoven himself, in whose keeping the Will remained
from 1802 to 1827, in after years himself obliterate the name of the
" pseudo brother " ? To account for the suppression of the name
" Johann " it has often been suggested that the composer could not
overcome his dislike to name the brother whom he apparently so
hated. It must, however, be remembered that at the time the
Will was written, the unjust behaviour of the composer towards
his brother John had not in any way made itself conspicuous.

The original document is now in the town library at Hamburg.
The great folio sheet on which the Promemoria was clearly written,
was purchased at the sale of Beethoven's effects in 1827 by Artaria.
A certificate on the fourth page states that J. Hotschewar, tutor
to the nephew Carl, received it from Artaria and Co., September 21,
1827. And underneath, the composer's surviving brother declares
that he received it from Hotschewar. According to Schindler the
autograph was for a long time in the autograph collection of Franz
Grafter, until it was acquired by the violinist, Heinrich Ernst. The
latter, according to Thayer (II. 191) presented it, out of gratitude,
to Otto and Jenny Lind-Goldschmidt, who in their turn presented
it to the Hamburg library. Beethoven speaks of being in his 28th
year, which would make 1774 the year of his birth ; generally, how-
ever, he considered himself two years younger than was actually the
case. For Dr. Schmidt, see notes to Letter XXXVIII.

The instruments which Beethoven received from Prince Lich-
nowsky are now in the Beethoven House at Bonn. According to
interesting details given by Alois Fuchs in the Wiener allgemeine
Musikzeitung (Dec. 5 and 8, 1846) the first violin (a Guarneri of
1718) and the viola (date 1690) were formerly in the possession of
Carl Holz ; the second violin, an Amati (date 1667) was purchased
by Huber ; while the 'cello (a Guarneri of 1712) belonged to
P. Wertheimber of Vienna.]

BEETHOVENS LETTERS 63

LVI To BARON ZMESKALL

[1802 ?]

Let me know when you can spend a few hours with me,
first of all to go with me to Hamberger's, and secondly, to
buy with me several things of which I am in need. As for
the night-lights, I have by chance found some, which will
perfectly satisfy you — the sooner the better.

[According to Thayer (II. 131) who published the note from the
original, which formerly (1872) was in Boston. The here-named
Hamberger was the registrar of the Lower Austrian Deposit Bank,
Johann Nepomuk Hamberger, a friend of Haydn's, in whose house
both Haydn and Beethoven lived. It lay on the so-called " Wasser-
kunst " bastion, and bore the number 1196. Nearly all the
fortifications of Vienna have now disappeared, also the famous
" Hamberger " house in which Peter Salomon, of Bonn, greeted
father Haydn with the words : "I am Salomon from London, and
come to fetch you ; to-morrow morning we will draw up an agree-
ment."]

LVII To the Music Firm of BREITKOPF AND
HAERTEL, Leipzig

[Vienna, October 18, 1802]

As my brother is writing to you, I add the following :
I have composed two sets of Variations, one containing 8,
the other 30 — both are written in an entirely new style, each
in quite a different way. I should very much like you to print
them, under the one condition that you pay me for both together
about 50 ducats. Do not let this proposal be made to you in
vain, for I assure you that you will not regret taking these
two works — each theme is treated in a totally different manner.
I only hear what other people say when I have new ideas,
for I never know it myself ; but this time I must myself
assure you, that the style of both works is on a totally new
plan of mine. I cannot agree with what you once wrote to me
about the test of sale of my works. It is surely a great proof that
they sell well, if almost all foreign publishers are constantly
writing to me for works, and even the re-printers,* of whom
you justly complain, are also of this number, for Simrock has
already written to me several times for works to be his sole
property, and he will pay me as good terms as any other

* See Preface.

64 BEETHOVENS LETTERS

publisher. You may regard it as showing preference, that
I make this proposal to you yourselves, for your business
always deserves distinction. Yours,

L. van Beethoven.

[Also this letter to B. and H. is unprinted in the sense explained
in No. 52. It is not easy to say definitely what the Variations
mentioned were. The first set reckoned as 8 was probably those
in F (Op. 34), which in fact were published by B. and H. in the
following year. Still more difficult is it to determine the Variations
which Beethoven reckons as 20. In regard to the recognition of
genius this letter is specially noteworthy. An apt illustration to
Beethoven's words is offered by Schiller, who says : " Genius
always remains a secret to itself."]

LVIII To FERDINAND RIES at Baden, near Vienna

[1802]

Be kind enough to let me know whether it is true that
Count Browne has given the 2 Marches to be printed — it is
important for me to know. I at once expect the truth from
you. You need not come to Heiligenstadt, for I have no
time to lose.

L. v. Bthvn.

[According to Deiter's publication of Beethoven letters to F.
Ries. If Ries is right in giving 1802 as the date, then the note
belongs to the spring or summer of 1802. The two Marches men-
tioned belong in any case to the 3 Marches for four hands (Op. 45),
which were published by the Industriekontor in March 1804 ; but
then, strangely enough, they were dedicated, not to Count Browne,
but to the ruling Princess Esterhazy, nee Princess Liechtenstein.

LIX NOTICE

I think it due to the public, and also myself, to announce
publickly, that the two Quintets in C and E flat, the first of
which (taken from a Symphony of mine) was published by
Herr Mollo, of Vienna, and the other (taken from my Septet,
Op. 20) byHerr Hofmeister, of Leipzig,are not original Quintets,
but only transcriptions, prepared by the publishers. Transcrip-
tion, indeed, is a thing against which nowadays (in this fruit-
ful age of transcriptions) an author would strive in vain ; one
can, however, at least in justice, demand that the publishers

BEETHOVENS LETTERS 65

should indicate it on the title-page, so that neither the honour
of the author be disparaged nor the public deceived. This in
order to prevent similar cases in future. I also make known
that shortly a new original Quintet of my composition in C
(Op. 29), will be issued by Breitkopf and Haertel at Leipzig.

Ludwig v. Beethoven.

[According to the Intelligenzblatt zur Allg. Mus. Ztg., No. 4,
November 1802. A similar notice appeared shortly before in the
Wiener Zeitung. Beethoven must have suffered much at this time
from the dishonesty of pirate publishers. Even the firm of Breit-
kopf and Haertel saw itself compelled to defend itself in the columns
of its paper against such swindlers.]

LX To the Music Publishers BREITKOPF AND
HAERTEL, Leipzig

[Vienna, November 13, 1802]

I hasten to write to you only what is of prime importance.
Know then, that the arch swindler Artaria, at a time when I
was away in the country for the sake of my health, begged
the Quintet from Count Fries to reprint, under the pretext
that it was already printed, and was to be had here ; their
own was faulty, and actually some days ago they wished to
delight the public with it. Good Count Fries, taken in, and
not reflecting whether or no there was some dirty trick, gave
it to them. He could not ask me — I was not there. Fortu-
nately, however, I became aware of the matter in time ; this
was on Tuesday of this week. In my zeal to save my honour,
and to prevent, as speedily as possible, any loss to you, I offered
these contemptible fellows two new works if they would
suppress the whole edition. But a cooler-headed friend,
who was with me, asks me, Why ever do you want to
reward these rascals? So the matter was settled under
conditions ; for they protested that whatever was published
by your firm would be reprinted by them. So these noble-
minded rascals decided for the term of -3 weeks after your
copies had appeared here, then only to publish their copies
(for they maintained that Count F. had made them a present
of the copy). With this limit the contract was to be drawn up,
and in return, I was to give them a work which I value at
lowest at 40 ducats. Before, however, this contract was

I E

66 BEETHOVENS LETTERS

signed, my brother appears on the scene, as if sent from
heaven. He hastens to Count Fries ; the whole matter is
the greatest swindle in the world. I will tell you in my next
letter how cleverly they kept me away from Count F., and
all the rest. I myself now go to F., and the enclosed Revers
may serve as proof that I did everything to protect you from
loss, and this account of the whole affair may likewise show
you that for me no sacrifice was too great to save my honour
and protect you from loss. From the Revers you will at the
same time see what measures you have to take. I think you
ought to send copies here as soon as possible, and if you can,
at the same price as that of the rascals. Sonnleithner and I
will, in addition, take all measures which seem to us good, so
that their whole edition may be destroyed. Note well, Mollo
and Artaria are really only one firm, i.e., a whole family of
rascals. They have not forgotten the dedication to Fries, for
my brother saw it on the title-page. The Revers I myself
copied, for my poor brother was so busy and yet did his very
best to save you and me. Besides, in the confusion he lost
a faithful dog which he named his darling. He deserves
a special letter of thanks from you ; I have already done
so for myself. Only think, from Tuesday up to late yesterday
evening I have been solely occupied with this business, and
the bare idea of this rascally trick may suffice to let you feel
how unpleasant it was to have to deal with such wretched
fellows.

L. v. Beethoven.

Revers.

The undersigned undertakes herewith under no pretext
to send out, or to sell here or elsewhere, the Quintet by Lud.
v. Beethoven received from Count Fries, until the Original
edition has been in circulation here, in Vienna, for 14 days.

Artaria Comp.

Vienna, September 12, 1802.

[According to the original manuscript in the possession of B.
and H., unprinted (in the sense already explained). This letter,
full of angry passion, clearly shows the sad position of a composer,
with regard to the publishing freebooters, at a time when there
was no respect for brain property. The letter also specially illus-
trates the notices about to be communicated which Beethoven
saw himself compelled to issue. In Nottebohm's Thematic Cata-
logue, the Quintet is said to have been published by B. and H. in

BEETHOVENS LETTERS 67

1801, but the year is evidently wrong ; the right one was, however,
already correctly given by Thayer in his Chronological Catalogue,
also in his Life of Beethoven (II. 215). The here-named " cooler-
headed friend " was certainly Sonnlei timer who only lately had
entered into closer relationship with Beethoven. He was secretary
of the court theatre, and it was he who arranged the Fidelio text
from the French. He was also the founder of the Gesellschaft
der Musikfreunde.

[See translator's note to Letter LXXXIL]

LXI To NIKOLAUS VON ZMESKALL

[Nor. 1802]
My Dear Z.,

For aught I care you can speak prettjr strongly to Walter
about my affair, for first of all, he deserves it, and ever
since one has been under the impression that I am at
loggerheads with Walter, the whole swarm of pianoforte
makers is impatient to serve me — and in vain. Each of
them wants to make me a pianoforte to my liking. Reicha,
for instance, is earnestly entreated by his pianoforte maker
to persuade me to let him make me a pianoforte, and he is
really one of the more honest fellows where I have already
seen good instruments. You, therefore, give him to under-
stand that I will pay 30 ducats for it, though I can get one
gratis anywhere else ; but I will only give 30 ducats, on
condition that it is made of mahogany, and, in addition,
with the una corda pedal. If he does not agree, give him to
understand that I shall apply to one of the other makers, to
whom I shall suggest this, and whom, in the meantime, I
shall also take to Haydn, so that he may see his instrument.
A Frenchman, unknown to me, is coming to-day about 12
o'clock, volti.

subito.

Then Herr R[eicha] and I will have the pleasure of my
having to display my art on a Jockesch pianoforte — ad
notam — if you will also come, we shall have a good time of it,
because afterwards we, Reicha, our wretched Imperial-
Baron also, and the Frenchman will dine together. You
need not put on a black coat, as we are amongst ourselves.

Your,

Beeth.

68 BEETHOVENS LETTERS

[According to Thayer (II. 197), who formerly (1872) possessed the
original. It now belongs to Mr. Edward Speyer of Shenley, near
London, who writes to me that Thayer's version is quite correct.
It offers the first sign in writing, of both artists formerly in Bonn on
friendly terms, being now on the same footing. From this letter
we also learn, and in a surprising way, that Beethoven held inter-
course with his former teacher, the old master, Joseph Haydn.]

LXII To the Same

[November 13, 1802]
Dear Z.,

Give up your music at the Prince's, there is nothing else
to be done.

There will be the rehearsal at your house early to-morrow
morning, and the production at my house about eleven
o'clock.

Ad dio excellent Plenipotentiarius regni Beethvensis.
The rogues have given their promise and, as was proper, in
writing, so they are fast bound.

[According to Thayer (II. 199), who printed the note from the
original, then in the possession of Joseph Hüttenbrenner of Vienna.
There was probably to be a quintet performance at Beethoven's
house, and the " rogues " had been compelled to give written
assurance, as was often the case for performances of Beethoven's
music, that they would attend rehearsal and production.

LXIII To the Music Firm of BREITKOPF AND

HAERTEL

[Vienna," December 18, 1802]

Instead of all the fuss about a new 'method of Variations,
as our neighbours, the Gallo-Franks would make, as for
example a certain French composer presented fugues to me
apres une nouvelle Methode, the chief feature of which was
that the fugue was no longer a fugue, etc., I have wished to
draw the attention of the amateur to the fact that these V.
are at any rate different from the usual ones, and this I
thought would be done in the simplest and clearest way by
a short preface which I beg you will insert for the smaller, as
well as for the greater V. In what or how many languages, I

BEETHOVENS LETTERS 69

leave to you, as we poor Germans are now expected to speak
in all languages. Here is the preface itself :

" As these V. are radically different from my earlier ones,
instead of marking them, like the former ones, only with a
number (viz., No. 1, 2, 3, etc), I have included them among
my more important musical works, and all the more, seeing
that the themes are my own.

The Author "

N.B. — If you find anything to alter, or to improve, you
have full permission.

[This letter was first communicated by /Thayer (II. 213). Beet-
hoven's acknowledgment that he puts, not a mere number, but an
opus number to his important sets of variations — here those of Op.
34 and Op. 35 — is well worthy of note.]

LXIV To BARON ZMESKALL

[1802 ?]

Dearest Baron, Barone, Baron !

Domanovitz
I beg you to sacrifice one friendship to another, and to come
to the Swan — by so doing you will greatly oblige.

Your, etc., Count,

Bthvn.

Baron ? — baron ron aron — ron — etc. health, and happiness,
happiness and health and health and happiness, happiness,
health, health, happiness, etc.

baron

[According to the original manuscript in the royal library, Vienna,
first printed by Nohl ("Neue Briefe Beethovens"].

LXV To AMATEURS

[January 22, 1803]

In informing the public that my long-announced original
Quintet in C major has appeared at Breitkopf and Haertel's,
Leipzig, I at once declare that I have nothing to do with

70 BEETHOVENS LETTERS

the edition of this Quintet prepared at the same time by
Messrs. Artaria and Mollo in Vienna. I am especially forced
to make this declaration, in that this edition is most faulty,
incorrect, and for the performer quite useless. On the other
hand, Messrs. Breitkopf and Haertel, the rightful owners of
this Quintet, have done everything in their power to bring
out the finest edition possible.

Ludwig van Beethoven.

[Given by Thayer (II. 214) from the Wiener Zeitung of January 22,
1803. The notice offers new illustration of the prevailing piracy
of many publishers of that period. As regards Mollo, Beethoven,
however, found that he was mistaken, and publicly withdrew his
accusation (1807). [See Translator's note to Letter LXXXIL]

LXVI To FERDINAND RIES in Vienna

[Spring 1803]

Be good enough to pick out the faults, and send at once
a list of them to Simrock, adding that he must try and get
it out soon. The day after to-morrow I will send him the
sonata and the concerto.

Beethoven.

[According to Ries in the Biog. Notices (new edition, p. 108).
This and the two following notes concern the three pianoforte
sonatas (Op. 31) in G, D minor, and E flat, the first two of which
were printed by Naegeli, of Zurich, in a very faulty and arbitrary
manner, so that, as Ries relates, Beethoven fell into a towering
passion. Simrock, of Bonn, had to print the sonatas afresh and
add " Edition tres corrected The sonata mentioned at the end of
this note was the Kreutzer Sonata (Sonate concertante), which was
actually published by Simrock in 1805. The concerto can only
have been the one in C minor, which, however, was not published
by Simrock, but at the Industriekontor, Vienna (1805).]

LXVII To the Same

[Spring 1803]

I must again trouble you about the vexatious business.
Make a clean copy of the faults in the Zurich sonatas and
send it to Simrock. The list of faults which you made, you
will find in my rooms at the Wieden.

BEETHOVENS LETTERS 71

[According to Ries. The closing words refer to Beethoven's
rooms at the theatre An der Wien (Wiedentheater). He was
engaged by the directors to compose an opera, and had, therefore,
free rooms in the theatre. He was now at work on Fidelio.

LXVIII To the Same

[Spring 1803]

— and not only are the signs badly indicated, but in many
places the notes themselves are misplaced, so be careful ! —
otherwise the work will again be in vain. CKä detto Vamato
bene ?

[According to Dr. Dieters who from the original manuscript
improved the Ries text, this is only a " continuation of a letter,
hence beginning and date are wanting." It refers to the correction
of the sonatas (Op. 31).]

LXIX To the Same

[Spring 1803]

That I am there, you will probably know. Go to Stein
and hear whether he can send me an instrument here, for
which I will pay. I do not like to have mine brought here.
I am at Oberdöbling No. 4, the street on the left, where the
hill goes down towards Heiligenstadt.

Beethoven.

[According to the facsimile of Josef Boeck in the pamphlet,
" Ludwig van Beethoven's Aufenthalt in Döbling." This note was
written in pencil. The pianoforte maker, Andreas Stein, was a
brother of Nanette Streicher, nee Stein.]

LXX To BREITKOPF AND HAERTEL in Leipzig

Vienna, April 8, 1803.

I have long been wanting to write to you, but my many
business matters do not allow me to carry on even a short
correspondence. With regard to the Variations, you are
mistaken in thinking that there are not so many. They
could not, however, be exactly indicated ; for instance, in the
great ones in which the variations run into one another in

72 BEETHOVENS LETTERS

the adagio ; then the fugue certainly cannot count as a varia-
tion, and so with the introduction to these great variations,
which, as you yourself have already seen, commences with
the bass of the theme, then a 2, 3 and 4 parts. Finally the
theme appears which again cannot be called a variation. If,
however, all this is not clear to you, send me, as soon as a
copy is printed, a proof for correction, together with the
manuscripts, that I may be certain of no confusion. And
you would show me a great kindness if from the great varia-
tions you would leave out the dedication to the Abbe
Stadler, and put in its place this one : A Monsieur le Comte
Maurice Lichnowski. He is the brother of Prince Lichnowski,
and only recently has shown me unexpected kindness, and
I have no other opportunity of doing anything nice for him.
If you have already put the dedication to Abbe Stadler, I
will willingly bear the costs of changing the title-page. You
need not hesitate at all. Only write and say what it costs.
I will willingly pay, and beg you earnestly to see to it, unless
some have been sent away. The small Variations are to be,
as arranged, dedicated to the Princess Odescalchi.

I thank you heartily for the beautiful things of Sebastian
Bach, I will keep and study them. If any more follow, do
please let me have them also. If you have a good text
for a Cantata, or for any vocal piece, let me see it,

from one,
who holds you in high esteem,

Beethoven.

[According to the original manuscript in the possession of the
B. and H. firm. This letter, published here for the first time, is of
special interest in that it reveals to us new information respecting
Beethoven's relations to Abbe Maximilian Stadler. This priest
and artist (1748-1833) was as glowing an admirer of Mozart as he
was a despiser of Beethoven. Schindler names as the three chief
men who were opposed to the composer's innovations : J. Preindl,
Capellmeister Dionys Weber and Stadler. From this letter we learn
that at this time Beethoven was so friendly with the artistic Abbe,
that he seriously thought of dedicating to him the set of Variations
in E flat (Op. 35). This artist, however, was never weary of running
down Beethoven's music, and many of his remarks must have
reached the composer's ears — consequently the dedication was.
withdrawn. Stadler's dislike to Beethoven's music increased; of
this the Conversation Books give strong evidence. Schindler
relates how " this Nestor never missed a performance of the Schup-
panzigh Quartet, but always left before the Beethoven work which

BEETHOVENS LETTERS 73

was always given after Haydn and Mozart." Beethoven, however,
always respected the man, and when Stadler spoke out bravely
in favour of the genuineness of Mozart's Requiem, Beethoven wrote
and congratulated him in the well-known letter of February 1826.
The Variations described bv Beethoven as " small " were those of
Op. 34.]

LXXI To BARON ALEXANDER V. WETZLAR.

From my house, May 18.

Although we have never spoken to each other, I do not
hesitate to recommend Mr. Brischdower, the bearer of this
letter ; he is very clever and a thorough master of his instru-
ment. In addition to his concertos he plays excellently
in quartets ; I do hope that you will be able to increase
his circle of acquaintances. He is already advantageously
known to Lobkowitz and Fries, and to all other amateurs
of note.

I think it would be a very good thing if you could take
him one evening to the house of Therese Schönfeld which,
so far as I know, is frequented by many foreigners, or have
him at your house. I know that you yourself will thank
me for this introduction.

[According to Jahn's copy from papers relating to Bridgetower
in the possession of Samuel Appleby. This and the two following
letters were, so it seems, copied by Thayer (II. 230) from the originals
possessed by S. Appleby. The violinist, George August Polgreen
Bridgetower, a mulatto, was born in Biala, Poland, in 1779. From
an Austrian passport from Vienna (July 27, 1803), his general
appearance is thus given by Jahn : " George Bridgtower : cha-
racter artist ; born at Biala, Poland ; 24 years old ; middle height ;
smooth bronze complexion ; dark brown hair ; brown eyes ; rather
thick nose." During the years 1802 and 1803 he gave concerts
at Dresden and Vienna. In May (22) he received permission to
give concerts in the Augarten. " Lichnowski will introduce him
to Beethoven " so it is stated in this passport. His father, of
African birth, was well known under the name of the Abyssinian
Prince. See interesting article, " George P. Bridgetower and the
Kreutzer Sonata," in the Musical Times, May 1908. There is also
given a facsimile of the above letter which is now in the
possession of Mr. Arthur Hill. — Tr.]

74 BEETHOVEN'S LETTERS

LXXII To the Violinist G. A. P. BRIDGETOWER

[May 1803]
My dear B.,

Come to-day at twelve o'clock to Count Deym's, i.e.,
where we were together the day before yesterday. They
perhaps wish to hear you play something or other, but that
you'll find out. I cannot get there till about half-past one,
and until then I rejoice at the mere thought of seeing you
to-day.

Your friend,

Beethoven.

[According to Jahn's copy ; in Thayer (II. 230). The
Countess Josephine Deym was a sister of Giulietta Guicciardi.]

LXXIII To the Same

[May 1803]

Kindly look out for me at the Graben in Tarroni's coffee
house about half-past one, and then we will go to Countess
Guicciardi where you are invited to dinner.

Beethoven.

[From this we see that in the very year in which his " Giulietta "
became Countess Gallenberg, Beethoven frequented the Guicciardi
house. Beethoven played the " Kreutzer " Sonata with Bridge-
tower at a concert given by the latter in the Augarten (May 22 or
24). Ries relates that the music was far from ready, especially that
of the pianoforte part, which was only written in here and there ;
also that " at eight o'clock in the morning " Bridgetower had to
play the Variations from Beethoven's own manuscript, for " no
time was left to copy it out." Yet in 1805, when the Sonata was
published by Simrock in Bonn, it was not dedicated to Bridgetower,
but to another great violinist, " to his friend," Rudolf Kreutzer.
Bridgetower and Beethoven are said to have quarrelled about a
girl. Hector Berlioz assures us that Kreutzer never played the
Sonata at his concerts.]

LXXIV To BREITKOPF AND HARTEL in Leipzig

[Vienna, June 1803]

I shall probably always be a very irregular correspondent
of yours, for, to begin with, I am by no means a diligent

BEETHOVENS LETTERS 75

writer — but you must overlook it. I hope you will receive
my brother's letter in which he begged you to give notice
of the really unusually numerous and serious faults. In a
few days, I myself will send you a list of them. However
handsome the edition, it is a pity that it has been sent into
the world with the utmost carelessness and inaccuracy. As
you printed my Variations from my manuscript, I was always
afraid many errors might have crept in, and much wished
you had sent me a proof beforehand. It is a most unpleasant
thing to see an otherwise beautifully printed work full of
mistakes, and especially for the author. Then, again, in the
grand Variations it was forgotten that the Theme was taken
from an allegorical Ballet which I composed, viz., Prometheus,
or in Italian, Prometeo, and this ought to have been stated
on the title-page. If possible, I beg you still to see to it,
i.e., if it has not yet been published ; if the title-page has to
be altered, let it be at my cost. Things of this kind are
forgotten here in Vienna, and one scarcely gives a thought
to them. The perpetual distraction and also the business
bustle really cause so great disorder in such matters, so
forgive me for mentioning it so late. I cannot yet have
anything to do with a poem, but I very much wish that when
the one you mentioned appears, you would inform me so
that I may look out for it. Do not forget about the Varia-
tions, also about the corrections and about the title-page, if
it is still possible to alter. If in any way I can be of service
to you here, please at once have recourse to

Your

most devoted servant,

Ludwig van Beethoven.

[According to the original manuscript in the possession of B.
and H. This letter makes quite clear that the peaceful theme
which appears in four of Beethoven's works, was first used
in the Prometheus Ballet. The Variations in E flat (Op. 35),
dedicated to Count Morita Lichnowsky, which were published by
B. and H. in 1803, are based on it ; it occurs also in No. 7 of
" 12 Contretänze for orchestra " published by Mollo and Co. in
1802 ; and finally in the Finale of the " Eroica " (Op. 55).]

LXXV To the Same

P. S. [September 1803]

I offer you the following works for 300 florins : (1) two
sets of Variations, one on God save the King, the other on

76 BEETHOVEN'S LETTERS

Rule Britannia ; (2) a Quail song of which the poem may be
known to you ; it consists of three stanzas, which, however,
are here entirely through-composed ; (3) three four-hand
Marches, easy, though not altogether unimportant ; the
last, indeed is so big that it may be called the March of the
three Marches. Send an answer by return of post, as time
presses.

The Variations of which you were good enough to send
me some copies, were after all not so very correct. I should
like anyhow to be able to see a proof of the others, for I
am always afraid of more serious faults in the others. I will
see about Bach's daughter at the beginning of the winter ;
for the present there are no persons of importance here, and
without them nothing really good can be done.

Best thanks to the editor of the Musikalische Zeitung for
his kindness in inserting so flattering a notice about my
oratorio, in which such big lies are told about the prices that
I charged, and in which I am treated so infamously. It
probably shows impartiality — well, be it so — if that sort
of thing does good to the Musikalische Zeitung.

A true artist is expected to be all that is noble-minded
and this is not altogether a mistake ; on the other hand,
however, in what a mean way are critics allowed to pounce
upon us.

Answer at once ; next time about some other matter.
As always, yours very truly,

L. v. Beethoven.

N.B. — All that I here offer you is quite new — unfortunately
very many old things of mine have unfortunately been sold,
also stolen.

[According to the original manuscript in the possession of the
B. and H. firm. The "God Save the King" Variations were
published (as number 25) not by B. and H., but at Vienna
in the Industrie-Kontor, and the " Rule Britannia " at the
Bureau d'Arts et d' Industrie, and at the same time and in the
same place "Der Wachtelschlag." The three four-hand Marches
were also published by the Industrie-Kontor. The composer's
remark about the last one is not quite clear, seeing that all three
are about the same length. Or was this third March in D substituted
for another and a greater one ? With regard to Bach's youngest
daughter, see Letter XLIII, and especially the explanatory notes.
Beethoven wished to do something in favour of Regina Johanna
Bach ; but nothing seems to have come of it. With regard to the
"flattering notice of my oratorio," the Vienna correspondent in his

BEETHOVENS LETTERS 77

notice in the A. M. Z. of May 25, 1803, says : " Beethoven also
gave a cantata of his own composition : Christus am Oehlberg. No
one on the following day could understand why for this concert
Herr B. charged double price for the best places, treble for the
orchestra-stalls, and for a box, instead of 4 florins, 12 ducats. One
must not, however, forget that this was Herr Beethoven's first
attempt of the kind. I honestly hope, however, that the next
time the takings will be as good ; but, as regards the composition,
more characterisation, and a better thought-out plan" ; and from this
hitherto unknown letter it will now be considered very questionable
why, even though it was his benefit concert, Beethoven charged such
high prices. Judgments diametrically opposed appeared, however, in
the Musikalishe Zeitung in the very same year. One writer says that
the success at the performance of the oratorio was extraordinarily
great ; "it confirmed my already long formed opinion that Beet-
hoven in time will bring about just a revolution in art as Mozart.
He is advancing with rapid strides towards the goal." And, some
months later, another correspondent writes : " For truth's sake
I must contradict a statement in the Musikalische Zeitung, viz.,
that Beethoven's Cantata did — not please." The well-wishing
enthusiast was right after all — the work was performed four times
during this year (1803). It was not published by B. and H. until
1811. Very interesting details about the rehearsals for the concert
(April 5, 1803) at Prince Lichnowsky's are^given by Ries (Biog.
Notices).]

LXXVI To HOFMEISTER AND KÜHNEL in

Leipzig

{Vienna, September 22, 1803]
P. S.

Herewith I declare all works about which you have written
your property. The list will be copied out again, and sent,
signed by me, declaring them to be yours. I also agree to
the price of 50 ducats. Are you satisfied with that ? Perhaps
I may be able to send you in place of the Variations with
violin and 'cello, some V. for jour hands on a melody of
mine, in which must be printed Goethe's poetry, as I wrote
these V. as a souvenir in an album, and consider them better
than the others ; will that satisfy you ? The transcriptions
are not my own, but I have looked through them, and in places
much improved them. So don't go and announce them as
mine, for in that case you would be telling a lie ; and besides
I have neither time nor patience for work of that kind. Are
you satisfied ?

78 BEETHOVENS LETTERS

Now farewell ; the best thing I can wish you is prosperity,
and I would willingly give you everything as a gift, if by so
doing I could get along, but — only reflect that every one
here around me has a post and knows that he has enough to
live on, but, good heavens, where would one place, a parvum
talentum com ego at the Imperial Court ?

[According to the original manuscript in the possession of the
Peters firm, Leipzig. The Trio-Variations mentioned in this letter
were published as Op. 44 by Hofmeister and Kühnel in 1804. On
the other hand the four-hand Variations were issued by the Industrie
Kontor, and only in 1805. They were written in an album belong-
ing to the Countesses Josephine Deym, sister to Giulietta Guic-
ciardi, and Therese Brunswick, and dedicated to them.]

LXXVII To GEORGE THOMSON in Edinburgh

Vienne, le 5 8bre 1803.
A Monsieur
George Thomson, Nr. 28 York Place.
Edinburgh. North Britain.
Vienne le 5 8bre 1803.
Monsieur !

J'ai recu avec bien du plaisir votre lettre du 20 Juillet.
Entrant volontiers dans vos propositions je dois vous declarer
que je suis pret de composer pour vous Six Sonates telles
que vous les desirez, y introduisant meme les airs ecossais
d'une maniere laquelle la nation ecossaise trouvera la plus
favorable et le plus d'accord avec le genie de ses chansons.

Quant au honoraire, je crois que trois cent ducats pour
Six Sonates ne sera pas trop, vu qu'en Allemagne on me
donne autant pour pareil nombre de Sonates, meme sans
accompagnement.

Je vous previens en meme tems que vous devez accelerer
votre declaration, parce qu'on me propose tant d 'engage-
ments qu'apres quelque tems je ne saurois peut-etre aussitot
satisfaire a vos demandes. Je vous prie de me pardonner,
que cette reponse est si retarde ce qui n'a ete causee que par
mon sejour a la campagne et plusieurs occupations tres
pressantes. Aimant de preference les airs Ecossais je me
plairai particulierement dans la composition de vos sonates,
et j'ose avancer qui si vos interets s'accorder sur le honoraire
vous serez parfaitement contentes.

Agrees les assurances de mon estime distingue.

Louis van Beethoven.

BEETHOVENS LETTERS 79

[Dr. Kalischer copied the letter from Thayer (II. 239) and
quotes Thayer's comment that " Beethoven appears only to have
signed it " ; hence Dr. K. justly remarks " that it is not quite clear
whether or not Thayer had the original before him." I have
consulted the original, and there is no doubt whatever that Thayer
had not seen it. Only the signature is in Beethoven's handwriting.
I have given the letter from the original, which differs as may be
seen, in a few unessential points, accents, capitals, etc., from the
Thayer version. — Tr.]

LXXVIII WARNING

{October — November, 1803)

Herr Carl Zulehner, re-printer in Mayence, has announced
an edition of my complete works for pianoforte and strings.
I consider it my duty publickly to make known to all musical
friends that I am in no way connected with this edition. I
should never have agreed to assist in a collection of my
works without first conferring with the publishers of the
separate editions, and seeing that imperfect editions of various
separate works were set right. Besides, I must state that
the edition in question of my works, illegally undertaken,
never can be complete, inasmuch as various new works will
shortly appear at Paris, which Herr Zulehner, as a French
subject, dare not reprint. With regard to a collection of
my works under my own superintendence, and after strict
revision, I will on another occasion explain myself in detail.

Ludwig van Beethoven.

[From the Intelligenzblatt of the Allg. Mus. Ztg., November,
No. HI., 1803. This warning was also inserted in the Wiener
Zeitung, where, as Thayer notes, " it filled, in large type, a whole
printed page " ; it appeared in this paper already on October 22.
This Zulehner was no ordinary " re-printer " (Nachstecher, see Pre-
face). Born at Mayence in 1770, he studied composition with
Eckart, Philidor and Sterkel, was conductor at Mayence, and a
member there of the Academy of Arts and Sciences. He arranged
more than a hundred operas and oratorios for pianoforte. N. Sim-
rock printed not a few of Zulehner's original compositions : piano-
forte concerto (Op. 5), second pianoforte quartet (Op. 13), etc.]

80 BEETHOVEN'S LETTERS

LXXIX To the Painter ALEXANDER MACCO

Vienna, November 2, 1803.
Dear Maccu !

When I tell you that your letter to me is more welcome
than that of any king or minister, I am speaking the truth ;
yet I must at the same time confess that by your magnanimity
you somewhat humble me ; through my holding back from
you, I really do not deserve your kind thought of me. For
the rest, I was sad at being unable to see more of you here
in Vienna, but there are periods in the lives of men which
have to be overcome, and they are often not considered from
the right point of view. It seems that you yourself, as
a great artist, are not altogether unacquainted with such
matters, and so I have not, as I perceive, lost your affection,
and that makes me indeed glad ; for I highly esteem you,
and only wish that in my profession I could have such an
artist about me.

Meissner's proposal is most welcome to me. I could
wish for nothing better than to receive such a poem from
him, who as writer is held in high honour ; moreover, he
understands musical poetry better than any other German
author. For the moment, however, I cannot at once set to
work on this oratorio, because I am only just beginning my
opera, and that, together with the performance, may probably
last till Easter : if then Meissner would not hurry so much
with the poem, that's exactly what I should like, that is,
if he would entrust the composition of it to me. And if
the poem is not yet complete, I should be glad if he would
not hurry, for just before or after Easter I would come to
Prague, and would then let him hear some of my later com-
positions, which would make him better acquainted with
my style of writing, and either further inspire or determine
him to give up, &c.

Picture that, my dear Macco, to Meissner — we say no more.
An answer from you on the matter will be very welcome to
me, while to Meissner I beg you to express my devotion
and high esteem. And once again hearty thanks, dear
Macco, for your remembrance of me : you paint and I'll
write music notes, and so we shall continue to live — for ever ?
— yes, perhaps for ever.

[The original letter, found by councillor Glück among Macco's
papers, is in the royal Staatsbibliothek at Munich. The celebrated

BEETHOVEN S LETTERS 81

portrait-painter and etcher, Alexander Macco, received his training
in Rome, and after travelling came, in 1802, from Prague to Vienna
but was compelled to return to Prague. He was born at Ansbach
in 1770, and consequently was of the same age as Beethoven. In
his autobiography he writes : " I made many interesting acquaint-
ances in Vienna, and even found friends, which rendered departure
painful. But the hope of perhaps returning at the end of a year
softened the sorrow of parting, and besides, I spent the last days
with L. v. Beethoven in the beautiful neighbourhood of Vienna,
in the country, and we parted from one another in the hope of soon
meeting again.'' From 1808 to 1816 Macco, however, was again in
Vienna. We have, however, no proof that he renewed intercourse
with Beethoven. It has already been pointed out (Letter XLV)
that this letter to Macco evidently offers an echo, as it were, of the
shock to Beethoven caused by the rupture with his beloved Giulietta
Guicciardi — the marriage took place on November 3, the day after
this letter was written. The Meissner named was August Gottlieb
Meissner of Bautzen (1753-1807). From 1785 he held the appoint-
ment of Professor of Fine Arts at Prague, and from 1805 he was
councillor of the consistory, and director of the higher academies
at Fulda, where he died. The poet Chr. Kuffner whose name
appears in Beethoven's life, edited Meissner's works in thirty-six
volumes. It must be added that Meissner was the grandfather of
the highly esteemed poet Alfred Meissner, who died in 1885.]

LXXX To BREITKOPF and HAERTEL, Leipzig

Vienna, Sept. 23, 1803.

As you wish to have instruments by other makers, I further
propose to you Z. Pohak, whose work is honest ; I enclose
his prices and different kinds of instruments. Then there
is Jo. Moser, whose list of instruments and prices will very
shortly be sent to you. His work is also good, and gives
promise that in time he will equal the best instrument makers,
or even surpass them.

L. v. Beethoven.

[Printed by La Mara as manuscript. The original is in posses-
sion of the B. and H. firm. To the names of Walter, Jakesch,
Stein, Streicher, with whom Beethoven transacted business, must
now be added those of Pohak and Moser. The brilliant prognostica-
tion of the composer with regard to the last-named firm does not
appear to have been fulfilled.]

82 BEETHOVENS LETTERS

LXXXI To Baroness DOROTHEA ERTMANN

[New Year 1804]

To Baroness Ertmann on New Year's Day, 1804, from
her friend and admirer.

Beethoven.

[The highly interesting illustrated card shows the friendly
intercourse between Beethoven and his distinguished pupil, the
Baroness. At the time this greeting was sent, she was in the bloom of
youth, about twenty-six years old. Whether Beethoven commis-
sioned an artist to design such a card, or whether he discovered it at
an art warehouse, is not known. The symbolic meaning of it is clear :
two angels bear the insignia of music, as is becoming to a priestess of
the art. One boy bears a golden lyre, another, a white sheet and a
style, waiting in order, apparently, to note down the inspired
thoughts. The original card is in the possession of Dr. Erich Prieger
of Bonn.]

LXXXII INFORMATION TO THE PUBLIC

Vienna, March 31, 1804.

According as I, the undersigned, caused a notice to be
inserted in the Wiener Zeitung of January 22, 1803, in which
I publickly declared that the edition of my original quintet
in C prepared by Herr Mollo was not published under my
supervision, so I herewith publickly retract this notice so far,
that Herren Mollo and Co. have nothing to do with this
edition, and this I feel bound to make known to the honourable
public by way of satisfaction to Herren Mollo and Co.

Ludwig van Beethoven.

According to the Wiener Zeitung of March 31, 1804.

[Ferdinand Ries in the Biog. Notices states that Beethoven's
" Violin Quintet in C major (Op. 29) was sold to a publisher in
Leipzig, but was stolen, and appeared suddenly at Artaria and
Co.'s in Vienna. As it was copied in a single night, there were
innumerable faults in it ; indeed, whole bars were missing. Beet-
hoven acted in a cunning manner, for the like of which one would
seek in vain. He requested Artaria to send to my house the fifty
copies ready, to have them corrected, but gave me instructions to
correct roughly with ink on the bad paper, and to draw lines on it,
so that it would be impossible either to use or sell a single copy.
These lines concerned especially the Scherzo. I followed his instruc-

BEETHOVENS LETTERS 83

tions exactly, and Artaria, in order to avoid a law-suit, was compelled
to melt down the plates."

But printed copies were circulated in the trade, and the plates
passed later on from Artaria to Mollo.

In 1889 an article of mine entitled " Discovery of Beethoven
Documents," Mras published in The Musical World (July 27, August 3
and 10, 1889). These were duly stamped legal documents concerning
the Quintet. Artaria petitioned (February 14, 1803) the Police High
Court to compel Beethoven to withdraw the notice of January 1803
(see Letter LXV). Artaria, after stating that he asked for, and
obtained a copy of the Quintet from Count Fries, says : " When
Beethoven learnt that I was going to publish it, he came to me
and explained that Breitkopf and Haertel were publishing it,
and made to me various promises on condition that I would
abandon the publication. But Beethoven, after that, kept out of
sight, and did not fulfil his promise."

Then Count Fries asked him to keep back the edition until the
Breitkopf and Haertel one had appeared in Vienna fourteen days.
This A. promised, signed a deed to that effect, and further
stated that Beethoven corrected two copies ; also that Tranquillo
Mollo had nothing to do with the edition.

Beethoven (September 1, 1803) declared that Count Fries had
no right to give the Quintet to be published, but the latter ex-
plained to him that the work had already appeared at Leipzig, and
that they only wished to reprint it. So he handed it over to Artaria
and Mollo. B. acknowledged that they signed a counter-deed
(Revers) the terms of which they observed, but added that B. and
H., not satisfied with the deed, demanded the total suppression of
the whole edition. B. admitted that he had revised two copies,
but " out of spite to Artaria I did not thoroughly examine and
correct them." He included Mollo's name because the latter often
spoke to him on the matter, so that he concluded he was concerned
with the matter.

After hearing further statements on both sides, the court sent
a report of the matter to the Polizei Ob er direction, altogether in
favour of Artaria, who, it was stated, had been injured by the notice,
and still more so Mollo. Beethoven was ordered to retract publickly
what he had published. He at first refused but afterwards, as the
above shows, gave way. But as the retractation concerns only
Mollo, some arrangement was evidently effected between the parties.
In fact Artaria in 1827 applied to the court for a " copy of the
settlement " between him and Beethoven. He had as already men-
tioned, sold the plates to Mollo, and the latter sold his rights in 1828.
Hence the " copy " was probably wanted by Mollo's lawyers.

This brief resume of the dispute should be compared with Letter
LX.— Tb.]

84 BEETHOVENS LETTERS

LXXXIII To FERDINAND RIES

Spring, 1804.
Dear Ries !

I beg you to show me the kindness of copying, even if
only roughly, this Andante. I have to send it away to-
morrow, and as heaven knows what may happen to it, I
want a copy taken of it. But I must have it back to-morrow
about one o'clock. The reason of my troubling you is that
one copyist is already busy writing other important things,
and the other is ill.

[According to Dr. Deiters's improved text from the Biog.
Notices. Ries gives 1804 as the " probable " date. The Andante
mentioned in it is not, as Ries imagines, the one in the Kreutzer-
Sonata (Op. 47), which had long been written, but the Andante in
F. originally intended for the Waldstein-Sonata. It was published
in 1806 at the Industrie-Kontor.]

LXXXIV

[Beginning of July 1804]
Dear Ries !

As Breuning did not scruple by his behaviour in your
presence and that of the landlord to represent me as a wretched
beggarly, mean man, I therefore select you first to give
my answer by word of mouth to Breuning ; but only concern-
ing one and the first point in his letter, which I only answer,
because this ought to vindicate my character in your eyes.
Tell him, therefore, that it never occurred to me to reproach
him for the delay in giving notice ; further that if Breuning
were really at fault in this matter, to live in peace with man-
kind is far too sacred a thing, far too much to my liking,
for me to injure one of my friends for a few hundreds, or
even more. You yourself know that quite in a joking way I
accused you as the cause of the notice being given too late.
I am quite sure that you will remember it ; as for me I had
quite forgotten the matter. Then, at table, my brother
began to say that he thought the fault was Breuning's ; I
at once denied this, and said that you were the guilty person.
I mean, it was indeed clear enough, that I did not lay
the blame on Breuning. Thereupon Breuning sprang up,
like a madman, and said he would call up the landlord. This
behaviour, of which I had never seen the like amongst all the

BEETHOVENS LETTERS 85

men with whom I am constantly associating, made me lose
self-command. I likewise jumped up, knocked down my
chair, went away, and never returned. Now this induced
Breuning to give such a fine account of me to you and to the
landlord, and likewise to send me a letter which indeed I
only answered by silence. To Breuning I have nothing more
to say. His way of thinking and acting, as regards myself,
shows that there ought never to have been friendly relation-
ship between us, and also that there certainly never will be.
Herewith I wish to make known to you that your testimony
has lowered my whole way of thinking and acting. I know
that if you had so understood the matter, you certainly would
not have acted thus, and with that I am satisfied.

Now please, dear Ries ! Immediately on receipt of this
letter go to my brother, the apothecary, and tell him that
already in a few days I am leaving Baden, and that he is to
engage the rooms at Döbling immediately after you have
informed him of it.

I was almost inclined to come to-day ; I am sick of this
place, tired of it. Do, for heaven's sake, get him to rent
the rooms at once, because I want at once to settle down in
Döbling. Say and show him nothing of what is written
about B. on the other page. I want in every way to show
him that I am not so small-minded as he is, and only wrote
to him after the letter mentioned, although my resolution to
break off our friendship is and remains firm.

Your friend

Beethoven.
[According to Dr. Deiters's text from the original.]

LXXXV Pour MONSIEUR WIEDEBEIN a Brunsvic

Baaden, July 6, 1804.

I am glad that you, good Sir, place confidence in me,
although I regret that I cannot be of real assistance to you.
You may imagine that it is easy to get on here, yet it would
always be difficult, seeing that Vienna is filled with masters
who earn a living here by teaching. If, however, it were
certain that I should remain here, I would let you come on
the chance ; but as I shall very likely leave already next
winter, I should not be able to do anything for you. I
cannot possibly advise you to give up a post on chance, for
I cannot promise you anything as compensation.

86 BEETHOVEN 'S LETTERS

But that one cannot improve oneself to a certain degree
in Brunswick, appears to me to be a somewhat exaggerated
opinion. Without in the least wishing to set myself up as a
model, I can assure you that I lived in a quite unimportant
place — and pretty well all that I became there and have
become here, was only owing to myself. This to you by way
of consolation in case you feel the need of making further
progress in your art. Your variations show natural aptitude,
but I object to your having altered the theme, why that ?
What a man cherishes ought not to be taken away from him
— besides that is changing before the Variations begin. If,
otherwise, I am in a position to do anything for you, you will
find me, as in all other cases, at your service.

Yours very truly,
Ludwig van Beethoven.

[This letter was published by L. Nohl, from the original in the
Neue Zeitschrift für Musik (Oct. 7, 1870). The autograph was
formerly in the possession of Wiedebein's daughter at Brunswick.
Gottlieb Wiedebein was born in 1779 at Eilenstadt, near Halber-
stadt. Schwanberg was one of his teachers at Brunswick ; hence
he became organist of the Brüderkirche there, afterwards capell-
meister of the principal church. He published works of all kinds
(Oratorio " Die befreiung Deutschlands," etc.).]

LXXXVI To FERDINAND RIES

Beginning of July, 1804.

Owing to my many business matters, you will have, dear
Ries, to put off your performance of the concerto. I have
therefore already spoken about it with Schuppanzigh, and in
the course of a few days, will at once see that it takes place
as soon as is possible.

Wholly yours,

L. v. Beethoven.

[According to the copy kindly made by Mr. Edward Speyer of
Shenley, from the original which belongs to his 90-year old brother
in Paris, who married the eldest daughter of Ferdinand Ries, and so
probably received it from his mother-in-law. The letter had already
appeared in the Addenda to Thayer's second volume. In all
probability this note was written a considerable time before Ries'
benefit concert in the Augarten concerts under the direction of
Schuppanzigh, at which he appeared as " Beethoven's pupil " and
gave the first public performance of the C minor concerto (Op. 37).

BEETHOVENS LETTERS 87

The note must be placed before the letter of July 14 in which mention
is made of the rehearsal at Schuppanzigh's house. See Letter
LXXXVIL]

LXXXVII To the Same

Baaden, July 14, 1804.

If you, dear Ries, know how to find better quarters, I
shall be very glad. You must then say to my brother that
you will not take this one at once. I should much like a big,
quiet square, or to be on the ramparts. It is unpardonable
on my brother's part not to have seen sooner about the wine
which for me is so necessary and beneficial. I will take care
to be at the rehearsal on Wednesday. I do not like its being
at Schuppanzigh's. He ought to be grateful to me, if my
injuries make him leaner. Farewell, dear Ries. We are
having bad weather here, and here I am not safe from people ;
I must get away, so as to be able to be alone.

Your true friend,

L. v. Bthvn.

[According to Nohl (Briefe Beethovens, No. XXXVI) from the
original which then (1865) was in the possession of Frau Balli Gonda
of Frankfort-on-Main. Beethoven loved to poke fun at his bulky
friend Schuppanzigh, and immortalised his stoutness in two canons.]

LXXXVIII To the Same

Baden, July 24, 1804.

The affair with Breuning will probably have surprised you.
But, dear friend ! believe me ; my flash of temper was only
a final outburst after many unpleasant incidents connected
with him in the past. I possess the power of concealing and
suppressing my sensitiveness with regard to a number of
things ; but if I am once roused at a time when I am sus-
ceptible to anger, then I speak straight out, more so than
any other person. Breuning certainly possesses excellent
qualities, but he thinks himself altogether free from faults,
yet those which he thinks to detect in others are for the most
part the very ones which he himself has in the highest degree.
He is small-minded, a quality which from childhood I have
despised. My critical faculty almost warned me beforehand of
what would happen with Breuning, for our ways of thinking,
acting, feeling are utterly different ; and yet I believed that

88 BEETHOVENS LETTERS

even these difficulties could be overcome — experience has
shown that I was mistaken. And now all friendship is at an
end ! I only found two friends in the world, with whom I
never had a misunderstanding, but what men ! One is dead,
the other still living. Although for the last six years, neither
has had any news of the other, I know well that I hold the
first place in his heart, as he does in mine. The foundation
of true friendship demands kinship of human souls and hearts.
I only wish you would read the letter I have written to
Breuning, also his to me. No, nevermore will he occupy the
place in my heart which he once held. A man who can
attribute to his friend such base thoughts, and likewise act
in such a base manner towards him, does not deserve my
friendship. Do not forget about my rooms. Farewell ;
do not indulge in too much tailoring, and remember me to
the most beautiful of the beautiful ; send me half a dozen
sewing-needles. I never could have believed myself capable
of being as lazy as I am here. If a working fit is the result,
I may turn out something really good.

Vale,

Beethoven.

[According to the Wegeler and Ries " Biographical Notices."
The two friends mentioned in this letter were, first Lenz (Lorenz)
von Breuning, who in 1794 travelled with Wegeler from Bonn to
Vienna in order to study medicine there. He had the privilege of
pianoforte lessons from Beethoven, but died at Bonn already in his
22nd year on April 10, 1798. The second of these friends was
probably Dr. Wegeler. The humorous passage " don't indulge in
too much tailoring," etc., refers to Ries' living in the house of a
tailor who had three beautiful daughters.]

LXXXIX To BREITKOPF AND HAERTEL in Leipzig

Vienna, August 26, 1804.

Highly honoured Herr Haerteh several reasons cause me to
write to you. Perhaps you may have heard that I had bound
myself by contract with a certain Viennese firm (to the ex-
clusion of all other publishers) to let them publish all my
works. Owing to the inquiries of several foreign publishers
with regard to this, I tell you, unasked, that it is not true.
You yourselves know that I could not, for that reason, accept
— at any rate not for the present — a similar proposal from
your firm. And here is another matter which I have at

BEETHOVENS LETTERS 89

heart : several publishers are terribly long before they bring
out my works, and one accounts for the delay in one way,
another in another. I well remember your once writing
me that you could deliver in a few weeks an immense number
of copies. I have just now several works, and because I
think of giving them to you, my wish to see them soon pub-
lished will perhaps be satisfied all the sooner. I therefore
tell you straight off what I can give you : my oratorio — a
new grand symphony — a Concertante for violin, 'cello and
pianoforte with full orchestra ; three new Solo Sonatas,
and if you should want one of these with accompaniment,
I would agree to do it. Now if you are willing to take these
things, you must kindly tell me exactly the time at which you
would be able to deliver them. As I have a strong desire
that at least the first three works should appear as soon as
possible, we would fix the time by writing, or contract
(according to your suggestion) ; and to this, I tell you quite
frankly, I should hold you strictly. The Oratorio has not
hitherto been published, because I have added to it an
altogether new chorus and altered several things ; for I wrote
the whole oratorio in a few weeks, and afterwards I was not
quite satisfied with it. These changes date only from the
time when my brother wrote to you about the work. The
Symphony is really entitled Bonaparte, and in addition to the
usual instruments there are, specially, three obbligato horns.
I believe it will interest the musical public. I should like you,
instead of printing in parts, to publish it in score. About the
other things I have nothing more to add, although a con-
certante with three such concerting parts is indeed also
something new. If, as I expect, you agree to the conditions
stated for these works as regards their publication, I would
give them to you for a fee of 2000 fl. I assure you on my
honour, that with regard to certain works, such as, for instance,
sonatas, I am a loser, since I get almost 60 ducats for a single
solo sonata. Pray do not think that I boast — far be it from
me to do anything of the sort — but in order the quicker to
arrange for an edition of my works, I am ready to be a loser
to some extent.

Please give me an immediate answer to this. I hope Herr
Wiems will have received my letter ; I took the liberty of
addressing it to your care. In anticipation of a speedy
answer, I am,

Yours very truly,

Ludwig van Beethoven.

90 BEETHOVENS LETTERS

[According to the original manuscript in the possession of the
B. and H. firm. The works mentioned are the oratorio "Christus
am Oelberge," the " Eroica," and the triple concerto (Op. 56) ;
the solo sonatas were probably those in C (Op. 53) and F (Op. 54).
Only the oratorio, and that not until 1811, was published by
the B. and H. firm. The title " Bonaparte Symphony " first
given by the composer to the " Eroica," deserves note. The here-
mentioned Wiems was probably a Leipzig publisher.]

XC To FERDINAND RIES

[1804]

You must arrange the matter, dear Ries, very discreetly,
and firmly insist on receiving something in writing from him.
I have written that you also had already heard the matter
talked about in the tavern, but did not know by whom ?
You do the same, and say that even the story has been meant
for me — that it is of the greatest importance to me to know
exactly the truth, so that I may give my brother a scolding
— for the rest my brother must not become aware that Dr.
Prosch has wrritten the truth to me. After your Ambassade,
come to me.

Kindest regards to the gracious lady ; if the husband is
reluctant, trust to the lady.

[According to the Vierteljahrsschrift für Musikwissenschaft in
which Dr. Deiters first communicated this letter. It is somewhat
obscure ; it may be about some story connected with the Ambassade,
i.e., Count Browne, in whose house, as already mentioned, F. Ries
occupied the post of pianoforte teacher. Nothing is known about
Herr Prosch ; the name should perhaps be spelt " Prokesch." The
date of the letter, according to Ries, is 1804.]

XCI To the Music Publisher, N. SIMROCK in Bonn

Vienna, October 4, 1804.

Dear, best Herr Simrock, I have been all the time waiting
anxiously for my Sonata which I gave you — but in vain.
Do please write and tell me the reason of the delay — whether
you have taken it from me merely to give it as food to the
moths ? or do you wish to claim it by special imperial
privilege ? Well, I thought that might have happened long
ago. This slow devil who was to beat out this sonata,
where is he hiding ? As a rule you are a quick devil, it is
known that, like Faust, you are in league with the black one,

BEETHOVENS LETTERS 91

and on that very account so beloved by your comrades. Once
again — where is your devil — or what kind of a devil is it —
who is sitting on my Sonata, and with whom you are at
loggerheads ? So hurry up and tell me when I shall see the
Sonata brought to the light of day. If you will fix the time,
I will at once send you a little note to Kreutzer, which be
kind enough to enclose when you are sending a copy (as
anyhow you will send copies to Paris, or will have them
printed there). This Kreutzer is a good, amiable man, who
during his stay here, gave me much pleasure. His un-
affectedness and natural manner are more to my taste than
all the Exterieur or inferieur of most virtuosi. As the Sonata
is written for a first-rate player, the dedication to him is all
the more fitting. Although we are in correspondence with
each other {i.e., I write once every year), I hope he will
know nothing about it as yet. I constantly hear that your
prosperity rests on a basis which is ever becoming more and
more sound ; I am heartily glad at this. Greetings to all your
family, and to all whom you think will be pleased to receive
a greeting from me. An answer soon, please.

Beethoven.

[According to the original manuscript in the Beethovenhaus,
Bonn ; first printed by Nottebohm in the Allg. Mus. Ztg. (1873).
Beethoven's impatience about the Sonata is easy to understand.
It was ready for printing in 1804, but was only published by Sim-
rock in the following year. The Sonata in question was of course
the one in A (Op. 47).]

CXII To the painter WILLIBRORD JOSEPH

MAEHLER [1804?]

Please let me have my portrait back as soon as you have
made sufficient use of it — but if you still want it I beg you
will at least hurry up with it. I have promised the portrait to
a foreign lady who saw it at my house, to be placed in her
room during her stay here of a few weeks. Who could
refuse such charming requests ? Of course I shall not forget
to let you have a share of all the beautiful favours which
thereby will be bestowed on me.

Yours truly,

Beethoven.

[According to Thayer (II. 237). The contents relate to the
excellent portrait which represents Beethoven, full figure, sitting.

92 BEETHOVENS LETTERS

It was painted 1804-1805, and was for a long time in the possession
of the widow of Karl von Beethoven. Willibrord Joseph Maehler,
native of Rhineland, is mentioned in F. G. Boeckh's " Vienna's
Living Authors, Artists and Amateurs " as an amateur in portrait-
painting (p. 267) ; he was formerly an official of the Imperial and
Royal house, court, and State Chancery. He was also a poet and
musician.]

XCIII To the composer M. I. Leidesdorf in Vienna
Village of sorrow! [1804?]

Give to Mr. Ries, the bearer of this, some easy pianoforte
duets, or still better, gratis. Conduct yourself according to
the pure doctrine — Farewell,

Beethoven
(minimus).
[According to Nohl (Beethoven's Briefe). Professor Dr. Klob,
of Salzburg, was formerly (1865) possessor of the original. Leides-
dorf, the pianist and composer, lived up to 1827 in Vienna, where
he kept a music shop. He then went to Florence and died there
in 1839. Beethoven transposes the syllables of Leidesdorf's name,
thus, " Dorf des Leides," and addresses him therefore as above.
This is one of many plays upon proper names in the composer's
letters.]

XCIV To STEPHAN VON BREUNING in Vienna
My good dear Stephan, [1804?]

Let what for a time passed between us, lie for ever hidden
behind this picture. I know it, I have broken your heart.
The emotion which you must certainly have noticed in me
was sufficient punishment for it. It was not a feeling of
malice against you ; no, for then I should be no longer
worthy of your friendship. It was passion on your part and
on mine — but mistrust of you arose in me. Men came
between us who are not worthy either of you or of me. My
portrait has long been intended for you. You know well
that it was intended for some one, and on whom better could
I, with warmest feeling, give it, than to you, faithful, good,
and noble Stephan. Forgive me if I did hurt your feelings ;
I was not less a sufferer myself through not having you near
me during such a long period ; then only did I really feel
how dear to my heart you are and ever will be,

Your [without signature].

Do fly to my arms again, as in former days.

Beethoven (C. 1804.

(From I h. viiii FrimmeTs "Beethoven Studien")

BEETHOVENS LETTERS 93

[According to Dr. Gerhard von Breuning in his pamphlet, " Aus
dem Schwarzspanierhause," Vienna, 1874. The date of this
letter is most difficult to determine. The original was at Vienna in
the possession of the widow of Stephan von Breuning. What has
become of it ? According to Schindler, whom Nohl follows, this
letter of reconciliation belongs to the year 1826 (! ?). Thayer
assigns it, without further explanation, to 1804, i.e., just after the
forementioned dispute between the two. After ripe reflection I
have also decided to accept that date. (1) The passage in the letter,
" Passion on your part and mine," suggests 1804 rather than
1826. Then there was no outbreak of passion on Beethoven's part.
(2) From Breuning it is evident that Beethoven and Stephan had long
renewed friendship when the composer went to live in the Schwarz -
spanierhause, in the autumn of 1825. (3) The same Breuning tells
of another serious difference between the two friends, of which the
master's brother was the cause ; but this must have been long
before the death of Carl Beethoven (1815). Breuning connects
this letter with that quarrel in which, however, there was no question
of " passion." (4) The most acceptable date for the quarrel and its
settlement seems therefore to be 1804. And speaking of the
settlement, Ries says very distinctly : " After some months both
(Beethoven and Stephan) met by chance, and there full reconcilia-
tion took place, and every hostile intention of Beethoven, however
strongly he had expressed himself in the two letters (of July 1804),
was entirely forgotten." According to Breuning the portrait in
question was the miniature portrait of Hornemann (1802), which
appeared for the first time in his pamphlet, "Aus dem Schwarz -
spamerhause."]

XCV To BREITKOPF and HAERTEL in Leipzig

Vienna, the 16th of January, 1805.

So far as. I can make out, the parcel I sent you has not
yet arrived. In it are the Symphonies and two Sonatas,
the rest will follow as soon as possible. This and every
other matter have been delayed only through lack of good
copyists ; for I have only two, one of whom is very second-
rate, and just at this very time ill, so this certainly makes it
difficult for me. Besides, in winter, my health is not so good
as in summer, so that I cannot undertake additional work ;
while revising is a real strain, compared with which actual
composing is easy. I enclose a small lied for you ; how
and why you will see from my letter enclosed with the
music. Prince Lichnowsky will shortly write to you about
my_ Oratorio, he is really — (and for a man in his position.

94 BEETHOVENS LETTERS

a rare example) — one of my most faithful friends and patrons
of my art. Farewell.

With great respect, I am your most obedient servant,

L. v. Beethoven.

[According to the original manuscript in the possession of Carl
Meinert of Frankfort. The writing fills two quarto pages. The
nought in the date is not distinct ; the contents of the letter show,
however, that 1805, not 1815 must be read. The Oratorio, " Christ
on the Mount of Olives," repeatedly mentioned in the letters, was
published by Breitkopf and Haertel as Op. 85, but not until 1811.
The here-mentioned Symphony is probably the fourth in B flat
(Op. 60). It was published by the Vienna " Industriekontor "
with which the Leipzig firm had business connections. The two
sonatas may possibly be those in C (Op. 53) and F. (Op. 54), which,
however, were not published by Breitkopf and Haertel.]

XCVI Dedication letter to Professor Dr. J. A.

SCHMIDT

[January 23 and 30, 1805]
Monsieur,

Je sens parfaitement bien, que la Celebrite de Votre nora,
ainsi que l'amitie dont Vous m'honorez, exigeroient de moi
la dedicace d'un bien plus important ouvrage. La seule
chose, qui a pu me determiner ä Vous offrir celui-ci de pre-
ference, c'est qu'il me paroit d'une execution plus facile et
par la merae plus propre ä contribuer ä la satisfaction dont
Vous jouissez dans Faimable Cercle de Votre Familie. C'est
surtout, lorsque les heureux talents d'une fille cherie se
seront developpes davantage, qui je me flatte de voir ce but
atteint. Heureux si j'y ai reussi et si dans cette foible
marque de ma haute estime et de ma gratitude Vous recon-
naissez toute la vivacite et la cordialite de mes sentiments.

Louis van Beethoven.

[According to the original edition of Op. 38, the arrangement
of the Septet (Op. 20) as Trio for pianoforte, clarionet (violin) and
'cello.]

XCVII To BREITKOPF and HAERTEL in Leipzig
P. s. [March, 1805]

Only yesterday did I receive your letter dated January
30. The Post Office here, if desired, can bear me witness,

BEETHOVENS LETTERS 95

as after its having been kept back so long, I naturally had
to make inquiry, and then the time of arrival of the letter
and everything was satisfactorily explained, from which it
was evident that the letter was not in the least delayed — ■
and of this I can at any time get confirmation in writing.
Although I quite understand the connection of your Paris
letter and the long delay of yours, the whole proceeding is
far too humiliating for me, for me to waste a word about it.
Besides, you have been made acquainted with the cause of
the delay — if a fault has been incurred, it is that my brother
made a mistake as regards the time of copying. The
honorarium is far less than I generally take. Beethoven
makes no boast, and despises everything which he has not
exactly received through his art and merits — so send back
all the manuscripts you have received from me, the song
also included. I cannot and will not accept a smaller fee ;
only upon the agreement made with me can you keep the
manuscripts. As the Oratorio has already been sent, it may
remain with you until it has been performed, for this you
are free to give, even if you are not willing to keep it. You
can send it back to me after the performance, and then if
you agree to the honorarium of 500 fl., Vienna currency,
together with the condition only to publish the same in
score, also that the right to publish the pianoforte score in
Vienna remains with me, then please send me an answer.
There are no middle -men and never have been any, to
prevent us coming to an agreement, no, the hindrances lay
in the nature of the matter — which I neither can nor care
to alter.

Farewell,

Ludwig von Beethoven.

[According to the original manuscript in the possession of the
B. and H. firm ; hitherto unprinted. It is a letter written on thin
octavo paper ; the four sides are rilled ; on the second page has
been noted

"1805 Vienna

March L. v. Beethoven.

June 21 " (answered.)

This letter is especially characteristic in that Beethoven here,
and probably for the first time, feeling that his honour had been
called in question, intentionally speaks of himself as a typical
personality. He therefore does not say " I," but " Beethoven " ;
thus " Beethoven does not boast," etc. In a letter to the Privy
Procurator at Graz, written at a much later period (1813) occurs the

96 BEETHOVENS LETTERS

sentence, " Beethoven never accepts anything when it concerns
the best interests of humanitv." The Lied mentioned here is
" der Wachtelschlag (Wachtellied) " in F. (c/. Letter LXXV).j

XCVIII To the Same

[Vienna, April 18, 1805]

I deeply regret that up to now I have not been able" to
send the pieces intended for you. But inevitable circum-
stances, namely, the want of a trustworthy copyist, and the
fact that the one to whom I can give such things is up to his
ears in work, prevented me, and makes it impossible even
at the present moment. I will do my very best, and hope
to arrange so that you may be certain to receive them within
from four to six weeks. Meanwhile, as there is nothing to
hinder you, I must emphatically insist on your commencing
at once to print the works already received, so that the
Symphony and the two Sonatas may certainly appear by the
end of two months. The delay in the publishing of my
works has often been most prejudicial to my business
relations as author ; it is therefore my firm resolve in future
to fix such periods, and stick to them. In the matter of
payment it will be the fairest plan for both, if you, as
already three works are in your hands, meanwhile pay the
700 fl., and only after the receipt of the two other pieces
pay the balance of 400 fl. The easiest way of settling the
matter will be for you, as I now propose to you, to send
every time the money to your commissioner here, to whom
I, on receipt of it, will hand in a formal certificate of owner-
ship as desired by you. Should you, contrary to expectation,
not find these conditions, whether as regards speedy publica-
tion or the manner of payment, quite to your liking, and
if you cannot definitely assure me that they will be carried
out, then, however unpleasant it would be to me, there
would remain nothing to do but to break off negotiations,
and demand the immediate return of the works which you
have already received.

The score of the Oratorio will be given to you by the end
of the month by Prince Lichnowsky himself ; the sooner
the parts are distributed the sooner the performance can
take place. In case you keep the Symphony, it would
perhaps be good to perform it at the same time as the
Oratorio ; both pieces would very wrell fill a whole evening's
programme. If no other arrangement stands in the way..

BEETHOVENS LETTERS 97

it is then my intention and my desire that the receipts
should be given to Madame Bach, for whom long ago I
intended something.

Ludwig van Beethoven.

[This imprinted letter is only signed by Beethoven ; it is in the
often-mentioned book (" printed as manuscript ") of Beethoven's
letters to the B. and H. firm. All the compositions mentioned in the
last letters were kept by the firm — with the exception of the Oratorio.
In the subscription concerts of the Leipzig Gewandhaus the here-
mentioned Eroica was performed for the first time on January 29,
1807, after its publication in the Vienna " Industriekontor " ;
the Oratorio, the score of which was issued by B. and H. in October
1811, was produced at the Gewandhaus, March 11, 1813.]

XCIX To MESSRS. ARTARIA AND CO.

[June 1, 1805]
P. S.

Herewith I inform you, that the matter concerning the new
Quintet has already been settled between me and Count
Fries. The Count has to-day assured me that he will make
you a present of it ; for to-day it is already too late for the
matter to be set forth in writing, but this shall be done
early in the coming week. Let this news suffice for to-day.
I think I have, to say the least, deserved your thanks for it.

Your obedient servant,

Ludwig van Beethoven.
Vienna, June 1, 1805.

[Herr Artaria, of Vienna, possessed the original (1865), from
which Nohl printed it in his Briefe Beethovens, and Thayer (II.
277). The letter shows that Beethoven's intense anger against
this firm, as expressed in that letter to Breitkopf and Haertel, had
passed away, so that new business relations appear admissible.
Between the letter of November 13, 1802 (LX) and the present
one, there is indeed an interval of more than two and a half years.]

C To PRINCESS JOSEPHINE LIECHTENSTEIN

[November 1805]

[Without date, written a few days before the marching
in of the French, 1805.]

Forgive me, most noble Princess ! if through the bearer
of this you perhaps experience astonishment of unpleasant

98 BEETHOVENS LETTERS

kind. Poor Ries, my pupil, is compelled to take musket
on shoulder in this calamitous war, and at once, as a foreigner,
to leave this city in a few days. He has nothing, nothing
at all, and must take a long journey. In these circumstances
all opportunity for a concert is quite cut off. He must
have recourse to benevolence. I commend him to your
notice. I am sure you will forgive me for this step. Only
in a case of extreme necessity can an honourable man have
recourse to such means.

In this assurance I send the poor fellow to you, so that
he may obtain some relief ; he must have recourse to all who
know him.

With greatest respect,

L. v. Beethoven.

Pour Madame la Princesse Liechtenstein, etc.

[According to the " Biographical Notices." Princess Josephine
Sophie von Liechtenstein was the wife of General Field-marshal
and reigning Prince von Liechtenstein, whom the Landgräfin von
Fürstenborg married in 1776 when in her sixteenth year. She
became the mother of thirteen children. Her acquaintance with
Beethoven began at Lichnowsky's, and, like so many other noble
ladies, she became a pupil of the young master, who dedicated to
her the Sonata in E flat (Op. 27, No. 1). Well known is her meeting
with Napoleon at Schönbrunn in 1809, when the Emperor in the
most honourable manner avenged an insult offered to the Princess
at Hüttelsdorf by one of his majors. The lady died in February
1848, aged 72. This letter, by the way, was not delivered — and
for this Beethoven was extremely angry. Ries, however, preserved
" the original written on a small, unevenly cut quarto sheet, as
proof of Beethoven's friendship and love " for him ; and for this
every one may be thankful.]

CI To the Opera Singer SEBASTIAN MAYER

[November 1805]
Dear Mayer,

The quartet in the third act is now all right ; what is
written with red pencil must be painted over with ink by
the copyist, otherwise it will become extinct. This afternoon
I shall send again for the first and second acts, for I want to
look through them myself. I cannot come, for I have been
suffering since yesterday from diarrhoea, my usual complaint.
Do not trouble about the Ouvertüre and the other numbers ;

BEETHOVENS LETTERS 99

if really pressing, everything could be ready by to-morrow
morning. Owing to the present fatal crisis, I have so many
other things to attend to, that everything that is not abso-
lutely necessary I have to put off.

Your friend Beethoven.

[According to Jahn's copy. This letter, together with others
to the same singer, was published by Jahn in his " Leonore oder
Fidelio " (Allg. Mus. Ztg. No. 23., June 3, 1863). Friedrich Seb.
Mayer (or Meier) who lived from 1773 to 1835, was the brother-
in-law of Mozart ; his second wife was Frau Hofer, the eldest sister
of Constance Mozart and Aloysia Lange. This and the following
note refer to the rehearsals for the production of Fidelio. I have
given details of the delightful episodes at these rehearsals in my
article " Beethoven's Beziehungen zu Mozart " in the first Mozart-
heft in Die Musik.]

CII To the Same

[November 1805]

Be kind enough, dear Mayer, and send me the wind parts
of all three acts, also the first and second violins together
with the 'cello of the first and second acts. You can also
send me the score, in which I myself wish to make some
corrections, because they are most important. I expect
Gebauer will send his private secretary to me this evening
towards 6 o'clock, about the duet, etc.

Yours truly, Bthvn.

[According to the original manuscript in the Berlin royal library.
Who Gebauer was cannot be made out. Franz Haver Gebauer,
the founder of the " Concerto Spirituels " well known in connection
with Beethoven, only came to Vienna in 1810. Perhaps during this
French period at Vienna there was a member of the well-known
French musical family of this name. The Francois Rene Gebauer
may have been there and have made Beethoven's acquaintance.]

CIII Testimonial for C. CZERNY

[December 7, 1805]

[We, the undersigned, cannot refuse to testify that the
young man, Carl Czerny, has made extraordinary progress on
the pianoforte, far beyond what his age, fourteen years, would
lead one to expect ; that in this respect, also with regard
to his wonderful memory, he is deserving of all possible

100 BEETHOVENS LETTERS

support, and all the more, seeing that his parents have spent
their fortune on the training of their promising son.

Ludwig von Beethoven.
Vienna, December 7, 1805.

[According to the original manuscript in the library of the
Gesellschaft der Musikfreunde, Vienna. This honourable certifi-
cate with Beethoven's familiar seal LVB., was only signed by him.
The half-sheet on which it is written bears a 15-kreutzer stamp.]

CIV To the opera singer FRIEDIR SEBASTIAN

MAYER

[April 1806]
Dear Mayer,

Baron Braun informs me that my opera is to be given
on Thursdays ; for this I will tell you the reason by word of
mouth. Now, I beg you most earnestly to see that the
choruses are better rehearsed, for the last time they were
an utter failure. Also on Thursday we must have a rehearsal
with full orchestra at the theatre ; the orchestra was really
not bad, but on the stage were many slips. That, however, was
to be expected, for the time was too short. I had, however,
to risk the matter, for B. Braun threatened that if the opera
was not given on Saturdays it would not be given at all.
Your affection and friendship, which at any rate you formerly
showed, lead me to expect that you will also now see to this
opera. After that it will not require such rehearsals any
more, and, if you like, you can conduct it. Here are two

books ; please give one to . Farewell, dear Mayer, and

look well after this matter.

[According to Jahn's copy ; first published by him in the
Allgemeine Mus. Zeitung, together with the former letters to
Mozart's brother-in-law. This and the following letter concern the
revival of Fidelio, now in two acts, March and April 1806. The
management of the opera, still in the year 1806, was in the hands of
Peter von Braun, a large manufacturer, who had been raised to the
rank of a nobleman. The Baron, and still more his wife, were
distinguished for their musical gifts. To the Baroness Beethoven
had dedicated the two Sonatas for piano in E and G (Op. 14), also
the Horn Sonata in F (Op. 17).]

BEETHOVENS LETTERS 101

CV To the Same

[April 1806]

Please request Herr v. Seyfried to conduct my opera to-
day ; I myself want to-day to see and hear it at a distance ; by
that means, at any rate, my patience will not be so severely
tried, as when close by I hear my music murdered. I can-
not help thinking that it is done purposely. I say nothing
about the wind instruments, but that all pp, Crescendos, all
decrescendos and all fortes fj were struck out of my opera ; no
notice is taken of a single one. If that's what I have to
hear, there is no inducement to write anything more ! The
day after to-morrow I will fetch you to dinner. To-day
I am unwell again.

Your friend,

Beethoven.
P.S.— If the opera should be given the day after to-morrow,
there must be a rehearsal to-morrow in the room — otherwise
it will get worse and worse every day !

[According to Jahn's copy. Ignaz Xaver Ritter von Seyfried
was appointed conductor at the " Theater an der Wien " when
twenty-one years old ; he was an enthusiastic admirer of Beethoven.
He died at Vienna in 1841.]

CVI To the Same

[1806 ?]
Dear Mayer,

I earnestly request you just to sing in one Terzett out of
my opera. I hope you will not refuse me this favour. I
am not well, otherwise I would have come myself to you
to make this request. The rehearsal is fixed for Saturday
morning, about 11 o'clock, and Sunday about 12 o'clock for
the performance.

Ever your friend,

L. v. Beethoven.

[According to the original manuscript in the Berlin library ; it
has hitherto remained unpublished. It has evidently nothing to
do with the performance of Fidelio, but rather with some concert
arranged by Beethoven, perhaps one in the Augarten under the
direction of Schuppanzigh. The date of this note cannot be deter-
mined with any certainty.]

102 BEETHOVENS LETTERS

CVII To Baron PETER VON BRAUN

[April or May, 1806]
Dear Baron !

I beg you to show me kindness by letting me have a few
words from your pen, in which you grant me permission to
have the following parts, viz., the flauto primo, the three
trombones and the horn parts of my opera from the Theater
an der Wieden. I want these parts only for one single day,
in order to have small things copied which for want of room
could not be entered in the score, also partly because Prince
Lichnowsky once thought of giving the opera at his house,
and asked me for them. But I am not very well, otherwise
I would have come myself to pay my respects to you.

With the highest esteem,

Ludwig van Beethoven.
To Baron von Braun,

Flauto Primo, the three Trombones,
The four Horn parts.

[Published by Thayer from the original, formerly in the possession
of Adolf Müller of Vienna. The letter must have been written at
the end of April or the beginning of May 1806, after Beethoven's
opera had already been consigned for a long time to the archive
grave of operas. Throughout 1806 Baron Braun still held office.
The here-named Prince v. Lobkowitz became, in the year 1807,
one of the successors in the Intendancy. Whether the prince had
a performance of Fidelio given in his palace is not known. In any
case this work remained buried until 1814, when it awoke to
immortality.]

CVIII To Count FRANZ VON BRUNSWICK in Hungary

[May 1806]

P. S. May 11th 1806. Vienna on a Mayday.

Dear, dear B. !

I just tell you that I have concluded a good bargain with
Clementi. I receive £200 Sterling, and in addition I have the
right to sell the same works in Germany and France. He has
also commissioned me to write other works, so that I have
reason to hope that while still in the prime of life I may win the
dignity due to a true artist. Dear B., I want the Quartets ; I
have already begged your sister to write to you about them.

BEETHOVENS LETTERS 10J3

It is too long to wait until you have copied them from my
score ; but do make haste and send them straight off by
letter-post— you shall have them back at latest in 4 or 5 days.
I earnestly request you to see to this, as otherwise I shall
incur a great loss. If you can arrange for me to come to
Hungary and give a few concerts, please do so — you could
have me for 200 gold ducats ; I can't get on with the princely
theatre rabble. So often as we (several friends) drink of
your wine, we drink you, i.e., your health. Farewell, make
haste — haste — haste, and send me the quartets — otherwise
you will greatly embarrass me. Schuppanzigh is married —
it is said with some one very like him — what a family ? ? ? ?
Kiss your sister Therese ; tell her, I fear I shall have to
become great, without any memorial from her contributing
thereto. Send off at once the quartets to-morrow — quar —
tets — t — e — t — s .

Your friend,

Beethoven.

[According to Jahn's copy in the Beethoven Legacy in the
royal library. As Nohl states (Neue Beethoven Briefe, No. VII.),
this letter was at that time (1807) in the possession of Count Geyza
Brunswick, son of the person addressed. Thayer who reproduces
the letter (III. 11 f.) — though not quite accurately, gives a conjecture
as to the date which is worthy of notice : after the 6 he places a 7
within brackets. The advantageous contract between the compos r
and the music dealer Muzio Clementi, was agreed upon in the year
1807. The here-mentioned quartets are the " Rasoumowsky "
(Op. 59, in F, E minor, and C). Anyhow they were begun already
in the spring of 1806, yet only completed in the early months of the
following year ; another ground, perhaps, for assigning the date
1807 to the letter in question. Then again Beethoven writes in
this merry letter " I can't get on with the princely theatre rabble,"
i.e., Prince von Lobkowitz, Count von Palffi, etc., who succeeded
Peter von Braun as managers of the theatre only in the year 1807.
The general contents of the letter point rather to 1807. The almost
student-like greeting to the Count's sister, Therese von Brunswick,
has in comical manner been put forward as a special proof in favour
of Beethoven's deep attachment to this Countess. I have repeatedly
shown such conclusion to be untenable ; I refer readers to my
pamphlet, "The Immortal Beloved" Beethoven's, " Giulietta
Guicciardi or Therese Brunswick." Schuppanzigh, the "fat one,"
married a ponderous woman, a native of Bohemia, whose younger
sister Frl. Killitschky, took part in a Beethoven concert, at the
very time capellmeister Reichardt of Berlin was in Vienna.]

104 BEETHOVENS LETTERS

CIX To BREITKOPF AND HAERTEL in Leipzig

Vienna, July 5, 1806.

I inform you that my brother is travelling to Leipzig on
business connected with his chancery, and he is taking with
him a pianoforte score of the overture of my opera, my
oratorio and a new pianoforte concerto. Also yoa can
arrange with him about new violin quartets, of which I have
already finished one ; and now intend to devote myself
almost exclusively to this kind of work. As soon as you
have come to an agreement with my brother, I will send
you the complete piano score of my opera — you could also
have the full score of it. I hear that the symphony which
I sent you last year, and which you returned to me, has
been severely criticised; I have not read the article. If
they think to harm me they are mistaken — all the more as
I have made no secret of the fact that you had returned to
me this Symphony with other compositions. Remember
me kindly to v. Rochlitz. I hope his bad temper towards
me has somewhat toned down. Tell him that I am not so
ignorant of foreign literature as not to know that von Rochlitz
has written some very fine things, and if I should ever come
to Leipzig, I am convinced that we should certainly become
very good friends, his criticism notwithstanding, and without
prejudice ; also remembrances to Cantor Müller, whom I
highly esteem. Farewell,

With respect, your sincere,

Ludwig van Beethoven.

(Besides, if something comes of the bargain with my brother,
I should like to receive from you the published scores of
Haydn and Mozart.)

[According to the original manuscript in the possession of Breit-
kopf and Haertel ; never printed before. Thayer complains, and
justly, in his account of the year 1806 in relation to Beethoven,
that " from the letter to Baron Braun up to the following first of
November there is not a single note in Beethoven's own hand-
writing to help us in following his personal happenings." All the
more gratifying is it that just this letter, also the two following ones
of this year, from the rich storehouse of the Breitkopf and Haertel
firm, fill up this gap. The here-mentioned pianoforte concerto was
the fourth in G (Op. 58) ; begun long ago, it was completed in the
following year, and appeared, dedicated to the Archduke Rudolf,

BEETHOVENS LETTERS 105

in August 1808, at Vienna and Pesth (Kunst und Industriekontor)-
We learn here something positive about the period during which
the Rasoumoffsky quartets were being composed. Delightful are
the words concerning the Eroica, rejected by the Leipzig firm and
then mercilessly run down in their newspaper. Rochlitz's " bad
temper " against the composer of this symphony really became
visibly milder. Like his organ the Allg. Mus. Ztg., so did he
become ever more enthusiastic for Beethoven. The " Cantor
Müller " mentioned in the letter was August Eberhard Müller, the
excellent pianist and composer. At the time it was written he
was already cantor at the Thomas School, Leipzig, and musical
director at both the principal churches of that city. In the year
1810, he was called to Weimar as Court Conductor and died there
in 1817 at the age of fifty. The letter is quarto size, on strong
paper, with writing on three sides, and the seal in good preservation.]

CX To the Same

Grazz, 3rd Haymonth [July], 1806.

Being rather busy, also the small journey here, prevented
me from answering your letter immediately — although I at
once decided to accept your offer, since even my own com-
fort is increased by such a proposition, and many an un-
avoidable disorder prevented. I willingly undertake in
Germany only to sell my works to you, also, even abroad,
except in the cases now specified : viz., when advantageous
offers are made to me by foreign publishers, I will let you
know of it ; and if you are otherwise inclined, I will arrange
that you may receive from me the same work in Germany for
a less honorarium. The second case is as follows : if I
should leave Germany, which is quite possible, that I may
be able to sell my works, whether in Paris or in London,
but you likewise again, as above, can, if inclined thereto,
have a share in them.

If these conditions are all right, let me hear from you
— I think that it would be quite suitable to you and me.
As soon as I know your opinion, you can at once have from
me three violin quartets, a new concerto for piano, a new
Symphony, the scores of my Opera and my Oratorio.

With regard to v. Rochlitz you have misunderstood me.
I really sent him greetings without any purpose, or mis-
representation ; so, likewise, with Mr. Müller, whom as an
artist I hold in esteem. If you can communicate to me

106 BEETHOVENS LETTERS

anything else interesting, it will afford me great pleasure.
With great respect.

Your Ludwig van Beethoven.

[On the inside of the envelope.]

N.B. — I am staying here in Silesia, as long as autumn
lasts, with Prince Lichnowsky, who sends his greetings. My
address is L. v. Beethoven, Troppau.

[According to original in the possession of B. & H. firm.]

CXI To GEORG THOMSON in Edinburgh

[October 1, 1806]
Sir,

A short excursion which I have made to Silesia is the
cause of my having delayed up to now answering your letter
of the 1st July. Having now returned to Vienna, I hasten to
send you my remarks and decisions concerning the offer you
kindly made me. And in doing so I shall be frank and
exact, qualities which I like in business matters, and which
alone can prevent any complaint on the one or other side. I
now proceed, honoured Sir, to give the following explanations :

(1) I am not disinclined, considering the matter generally,
to accept your proposals.

(2) I will endeavour to make the compositions easy and
pleasant, so far as I am able, and so far as it is in agreement
with that sublimity and originality of style, which, according
to your own statement, characterise my works and to their
advantage, which standard I shall ever seek to maintain.

(3) I cannot make up my mind to write for the flute, as
this instrument is too limited and imperfect.

(4) In order to give more variety to the compositions
which you will publish, and in order that I may have fuller
play, though the task of making them easy would always
bother me, I will only promise you three trios for violin,
viola and violoncello and three quintets for two violins, two
violas and a violoncello. In place of the other three trios
and three quintets I will let you have three quartets, and,
finally, two sonatas for pianoforte with accompaniment,
and a quintet for two violins and flute. In a word, I would
beg you with regard to the second set of compositions desired
by you, to trust entirely to my judgment and loyalty, and
I am sure you will be perfectly satisfied. Lastly, if this
change is not at all to your liking, I will not obstinately
insist on it.

BEETHOVENS LETTERS 107

(5) I should be very glad to see the second edition of the
compositions published six months after the first.

(6) I want a clearer explanation about a statement in
your letter, to the effect that no copy printed under my
authority shall be introduced into Great Britain ; for if you
are agreed that these compositions can be published also
in Germany and indeed in France, I cannot well see how I
can prevent copies being introduced into your country.

(7) Finally, as regards the honorarium, I expect you to
offer me £100 sterling, or 200 Vienna ducats in gold, and not
in Vienna bank-notes, which under present circumstances
entail too great a loss ; for the sum would, if paid in these
notes, be as little commensurable with the work which I
should let you have as with the fees which I receive for all
my other compositions. Even a sum of 200 ducats in gold
is by no means excessive payment for all that has to be done
to satisfy your wishes. Finally, the best arrangement will
be for you to send me by post a bill of the value of 100 ducats
in gold, when I send you the first and again when I send the
second set ; it must be drawn on a business house at Hamburg,
or you must commission some one in Vienna to return me
each time such a bill, while the same will receive from me
the first and the second set.

You will name to me at the same time the day on which
each set will be published by you, so that I can bind the
publishers who issue these same compositions in Germany
and France, to be guided thereby.

I hope that you will find my explanations just, and of
such a kind as will probably enable us to come to a definite
understanding. In this case it will be well for us to draw up
a proper contract, of which you might be kind enough to
have a duplicate copy made, which I would send you back
with my signature.

I only await your answer to set to work, and remain
with highest esteem,

Sir,

Your obedient servant,

Louis van Beethoven.

P.S. — I will also fulfil your wish to provide short Scottish
songs harmonised, and with regard to this await a more
exact proposal, as I know well that Mr. Haydn was paid
£l sterling for each song.

108 BEETHOVENS LETTERS

[This letter was originally written in French, and only signed by
Beethoven ; Thayer gave it in German (II. 316 ff.). Concerning
the relations between Beethoven and Georg Thomson in Edinburgh,
cf. Letter LXXVII, October 5, 1803, and especially the explanations
there given. Only one of the proposals made by Beethoven in this
letter was accepted, viz., the harmonisation of Scottish songs.

[There are actually two signatures ; one at the end of the letter
and one on next page on which the "You will name to me" paragraph,
is written with indication that it is to follow paragraph 7. — Tr.]

CXII To Messrs. BREITKOPF and HAERTEL in

Leipzig

\November 18, 1806]
P. S.

Partly my distractions in Silesia, partly the events in
your country were to blame for my not as yet having answered
your last letter. If circumstances prevent you arranging
with me, then you are not bound to anything, only I beg
you to send me an answer by next post, so that in case you
won't come to terms with me, I need not leave my works on
the shelf. With regard to a contract for three years I
would settle at once with you, if you would agree to my
selling several works to England or Scotland or France. It
is understood that the works which you receive from me, or
which I sold to you, also belong to you alone, viz., are entirely
your property and have nothing in common with those sold to
France or England or Scotland — only I must reserve to myself
the liberty of selling other works of mine to the above-named
countries. In Germany, however, you would be the sole
owners of my works, to the exclusion of all other pub-
lishers. I would willingly renounce the sale of my works
in those countries, but, for instance, from Scotland I have
important offers, and terms such as I could never ask from
you ; besides a connection abroad is of importance for the
reputation of an artist, and in case he travels. As I, for
instance, in the offers from Scotland, am still free to sell
the same works in Germany and in France, so you, for in-
stance, could readily obtain them from me for Germany and
France, so that for your sale only London, and perhaps
Edinburgh (in Scotland), would be closed to you. In this way
I would willingly enter into a contract with you for three years ;
you would always get sufficient stuff from me — the orders

BEETHOVENS LETTERS 109

from those countries are frequently for something' to please
individual taste, which we do not want in Germany. For
the rest, however, I am of opinion that there is no need to
draw up a contract and that you ought to rely entirely on
my word of honour. I undertake to give you the preference
in Germany over all other publishers, it being understood
that neither France nor Holland can have any share in these
works — you are the sole owners. Do as you like in the
matter, only drawing up a contract gives a lot of trouble :
I would name to you the fee for each work — and the
lowest possible. For the present I offer you three quartets
and a pianoforte concerto — I cannot yet send you the promised
symphony, for a gentleman of quality has taken it from me,
on the understanding that after six months I am at liberty
to publish it. [About two lines scratched through.] I ask
from you 600 fl. for three quartets and 300 for the concerto.
Both sums in convention-Gulden, according to the twenty-
Gulden scale. The best would be for you to give notice
that the money was at your place, or else at some well-known
banker's, whereupon I would draw a bill from here on Leipzig.
If this does not suit, you could send me a bill for the sum
reckoned in 20 fl. Gulden according to the exchange.

It might be possible for me to be able to have the sym-
phony printed sooner than I expected ; in that case you could
soon have it. Only send me a speedy answer — so that I
may not be kept waiting. For the rest be assured that I
prefer your firm to all others, and shall continue to do so,
With esteem,

Your most devoted servant,

L. v. Bthvn.

Vienna, November 18, 1806.

[According to the original manuscript in the possession of the
B. and H. firm ; hitherto unpublished. The question of a contract
between Beethoven and this firm has been already touched upon
(c/. Letters LXXXIX and CX). This time negotiations fell through ;
even the compositions mentioned in this letter, were not published
by B. and H., but by the Vienna Industriekontor. The " gentleman
of quality " was either Count Fries, or Count Moritz von Oppersdorf ,
to whom as a matter of fact, the 4th Symphony in B flat was
dedicated.]

110 BEETHOVENS LETTERS

CXIII To the I. R. THEATRE DIRECTION in Vienna

[December 1806 ?]

Worshipful I. R. Court Theatre Direction,

The undersigned really ventures to flatter himself that
during his residence in Vienna he has won some favour and
approval from the high nobility as well as from the general
public ; also that he has secured an honorable reception of
his works at home and abroad.

Notwithstanding this, he has had to contend against
difficulties of all kinds, and, hitherto, has not been fortunate
enough to establish a position for himself, enabling him to
devote himself, as he desires, entirely to art ; to develop his
talents to that higher degree of perfection, which ought to
be the aim of every true artist, and to ensure an independent
future, in place of the hitherto merely chance advantages.

As, however, the aim of the undersigned was not so much
earning a livelihood, as the interest of art, the ennobling of
taste, and the upsoaring of his genius towards higher ideals
and towards perfection, it often happened that he sacrificed
money and its advantages to the Muse. Nevertheless, works
of this kind, however, procured for him a reputation abroad
which in several important cities secures for him a favourable
reception, and a destiny in keeping with his talents and
attainments.

Yet the undersigned cannot deny that the many years
spent here, the favour and approval of high and low, the
desire to fully realise those expectations which up to now
he has had the good fortune to excite, also, he may venture
to say, the patriotism of a German, render this city more
precious to him and more to be desired than any other place.

He cannot, therefore, forbear, ere he carries out his
decision to leave this city so dear to him, to follow the hint,
which his Serene Highness, the ruling Prince Lobkowitz,
was kind enough to give him ; for he said, that a highly
worshipful Theatre Direction would not be disinclined, under
suitable conditions, to engage the undersigned in the service
of the theatre under their management, and in order to ensure
his further stay, to settle a suitable sum on him enabling
him the better to develop his talents. As this declaration
is in perfect union with the wishes of the undersigned, he
himself takes the liberty both to express his readiness to
accept the terms, also, in most becoming manner, to submit

BEETHOVENS LETTERS 111

the following conditions for the gracious acceptance of the
worthy directors :

(1) The same promises and undertakes to compose every
year at least one grand opera, the subject to be selected jointly
by the esteemed directors and the undersigned ; in return
he asks for a fixed payment of 2400 fl. per annum, together
with, as benefit, the full receipts at the third performance of
each such opera.

(2) The same promises, gratuitously, to deliver yearly
a small operetta or a Divertissement, choruses or pieces
d'occasion, according to the desire and requirement of the
esteemed directors. But he entertains the hope that the
esteemed authorities will not hesitate to grant him in return
for such special works, in any case one day a year for a
benefit concert in one of the theatre buildings.

If one reflects how much brain-work and time the com-
position of an opera demands, as it simply debars one from
all other intellectual work ; if one further reflects how in
other cities, in which an author and his family obtain a
share of the receipts at every performance, one successful
work at once gains a fortune for the author ; and if one
further reflects, how little advantage the unfavourable rate
of exchange and the high prices which an artist here, to whom
for the rest foreign countries are open, has to pay for the
necessaries of life — then the above conditions will surely
not appear exaggerated or unreasonable.

In any case, however, whether the esteemed directors
confirm and accept the present offer, or not, the undersigned
adds the request that a day may be granted to him for a
concert in one of the theatre buildings ; for should his pro-
posal be accepted, the undersigned would require his time
and strength for the completion of the opera, and could not
therefore earn money in any other way. Should, however,
the present offer not be accepted, the same would regard
the fulfilment now of the promise of a concert made to him
last year — which owing to various hindrances did not come
off — as the strengest proof of the high favour hitherto shown.
He begs, in the first place, for Annunciation Day ; in the
second, however, for a day during the forthcoming Christmas
holidays.

Ludwig van Beethoven, M.P.

Vienna, 1907.

[Published in the Wiener Musikzeitung in 1847, from the
original which was in the possession of Aloys Fuchs.]

112 BEETHOVENS LETTERS

CXIV To CAMILLE PLEYEL in Paris

Vienna, Ap. 26, 1807.
My dear and honoured Pleyel,

What are you doing, you and your family ? I have very
often wished to be with you, but until now it was not possible.
The war has partly been the cause. If that is to go on being
an obstacle for much longer, I suppose I shall never see Paris.

My dear Camillus — that was the name, if I mistake not,
of the Roman who turned the wicked Gauls out of Rome ;
for that price I should like to be called so too, were it only
to be able to drive them away wherever they have no business
to be. What are you doing with your talent, dear Camille ?
I hope you are not letting it expend itself on yourself alone ?
I suppose you are doing something besides ? I embrace you,
both father and son, with all my heart, and together with the
business matters you have to write to me about, I should
like to know much about you and your family.

Good-bye, and don't forget your true friend,

Beethoven.

[According to the facsimile of the original in the archives of the
Pleyel firm. The father of the person addressed was Ignaz Pleyel,
pupil, and afterwards the rival of Haydn in London. He estab-
lished a pianoforte business in Paris which soon was in a flourishing
condition. He died November 14, 1831. The son, born at Strass-
burg in 1792, was only 15 years old when Beethoven wrote him the
above letter. It may be supposed that the father paid frequent
visits to Vienna introducing, on one occasion, his promising son to the
composer. Oscar Comethaut, who discovered the letter among the
Pleyel documents, quotes from a letter written by Camille Pleyel,
27 Prairial of the year XIII ( = 1805) as follows : " We were taken
to see Beethoven, and when close to his house, met him. He is
a small, thick-set man, his face pitted with smallpox, his reception
lacking in politeness. As soon, however, as he perceived that it
was Pleyel, he became a little more polite ; but as he was busy we
could not hear him play." Camille Pleyel (d. 1855) was the husband
of the celebrated pianist, Marie Felicite Denise Pleyel.]

CXV To IGNAZ PLEYEL in Paris

[Wien, 26 April (?) 1807]

A M. Ignace Pleyel, compositeur et editeur de musique,
ä Paris.

J'ai l'intention de conner ä la fois le depot de six ceuvres

BEETHOVENS LETTERS 113

ci-dessons ä une maison de Paris, ä une maison de Londres
et ä une maison de Vienne, ä la condition que dans chacune
de ces villes elles paraitrons ensemble ä un jour determine.
De cette facon, je crois satisfaire mon interet en faisant
connaitre rapidement mes ouvrages, et sous le rapport de
l'argent je crois concilier mon propre interet et celui des
differentes maisons de depot.

Les ceuvres sont
1° Une symphonic
2° Une ouverture ecrite pour la tragedie de Coriolan, de

Collin.
3° Un concerto de Violon.
4° Trois quatuors.
5° Un concerto pour piano.

6° Le concerto pour violon, arrange pour le piano avec des
notes additionelles.

Je vous propose le depot de ces ceuvres ä Paris ; et pour
eviter de trainer la chose en longueur par des correspondances,
je vous l'offre tout de suite au prix modere de 1-200 florins
d'Augsbourg contre la reception des six ceuvres, et votre
correspondant aurait ä s'occuper de l'expedition. Je vous
prie done de me donner une prompte reponse, afin que, ces
ceuvres etant toutes pretes, on puisse les remettre sans retard
a votre correspondant.

Quant au jour ou vous devrez les faire paraitre je crois
pouvoir vous fixer, pour les trois ouvrages de la premiere
colonne, le Ier septembre, et pour ceux de la seconde colonne,
le 1er octobre de la presente annee.

Ludwig van Beethoven.

[This business letter was likewise communicated by O. Comet-
tant ; it is, however, not an original letter. It was written in
German for Beethoven and only signed by him. Comettant was
mistaken in giving the date " October 26," an evident error, since
this author himself says "cette lettre, on a pu le remarquer, est de
la meme date que la precedente. Les deux lettres sont parvenus
ä Pleyel sous la meme enveloppe."

The letter, list of works etc. being omitted, runs thus : " I intend
to offer the six works mentioned below to houses in Paris, London,
and Vienna, on condition that in each of these cities they shall
appear on a day fixed beforehand. In this way I think that it will
be to my interest to make my works known rapidly, while as
regards payment I believe that the terms are to my interest and
likewise to that of the different houses."]

114 BEETHOVENS LETTERS

CXVI To BARON IGNATZ VON GLEICHENSTEIN

[1807]

I am now sending you 300 fl., only let me know whether
you want more, and how much ? ? and I will send it at
once — and beg you, as I understand so little about such
matters all of which are uncongenial to me, to buy linen or
nankeen for shirts, and at least half a dozen neckties. Use
your judgment in the matter, only see to it without delay,
you know I want them. To Lind I have given 300 fl.
in advance, and so have acted quite according to your
maxim.

Joseph Henickstein has paid me to-day at the rate of
27 fl. per pound sterling, and invites you, me and dementi
to Ainner to-morrow ; don't refuse, you know I like being
with you. Only let me know whether I may venture to
tell Henickstein that he may safely count on your coming —
pray don't refuse. Greetings to all that is dear to you and
me. How gladly would I add, and to zvhom we are dear ? ? ? ?
At any rate this ? sign becomes me. To-day and to-
morrow I have so much to do, that I cannot as I wished,
come to you. =. Farewell, be happy, I am not.

Your Beethoven.

[According to the original in possession of Herr Carl Meinert in
Frankfort-on-Main, letter quarto size, Beethoven's seal well pre-
served. Baron von Gleichenstein, in addition to his post as court
official, was an excellent amateur on the violoncello. Hence a friend-
ship soon sprang up between the two, over which afterwards, and
probably through Beethoven's passion for Therese Malfatti, a cloud
was drawn. Beethoven was introduced to the Malfattis through
Gleichenstein. Of the two daughters, Anna afterwards became the
wife of the Baron, but the sighing tone-poet could not succeed in
becoming his brother-in-law. With regard to the dating of the
numerous letters and notes, that depends on the way in which the
critical investigator makes clear to himself the development and
intensity of this love. I quite agree with Nohl who assigns all the
letters about to be presented, to the years 1807-1809, whereas on
the other hand, Thayer, who connects Beethoven's marriage scheme
with quite a different person from Therese Malfatti, consequently
assigns many of these letters to a period after 1810. In this letter
Beethoven appears in the best of spirits. %. The favourable contract
which the master had settled with Muzio Clementi had intensified
his vital power, Money appears to be plentiful ; the money sent

BEETHOVENS LETTERS 115

to the tailor speaks for itself. Joseph Henickstein was at the head
of the Vienna banking house, Henickstein and Co., with which
Beethoven had many dealings.]

CXVII To the Same [18071

The Archduke only yesterday evening, begged me to come
to him to-day about half-past one, and as I probably shall
not be able to get away before three, I have sent an excuse
for both of us. If you meet Henickstein, tell him that I at
once let you know of his invitation, for his faith in me is none
too strong, which, his own considered, he is not altogether,
considering mine in him, wrong. I wrote that we would
invite ourselves for another day. I am very much obliged
to you for the trouble you have taken. I was sorry to have
missed you, but I so seldom expect you at my house, that
I may be forgiven if I never count on your coming. I will
let you know in good time whether you can come this
evening with Dormer to the Archbishop's.

Your Beethoven.

[According to Nohl. This letter is connected with the previous
one. In it appears, and for the first time, the name of the man who
played so prominent a part in the history of Beethoven. The
Archduke Rudolf was in any case now already his pupil. Dr. Dorner
belonged likewise to this noble friend's circle.]

CXVIII To HERR VON TROXLER in Vienna

[1807]
Dear Doctor !

Thousand thanks for the trouble you have taken on
my behalf. It would have saved me some days of bad
temper had I received the news earlier — the Baden post is
most wretched, it is like its whole State ; only to-day did
I receive your letter. If possible, expect me to-morrow
morning between 9 and 10 o'clock at your house. I am
coming to Vienna and much wish that you would go with
me on Tuesday to dementi's, for I better understand how to
make myself intelligible to the foreigner by playing rather
than by speaking. Once again my heartiest thanks for all
your friendship and kindness to me. Best regards to
Malfatti. Keep in affection your friend Beethoven,

116 BEETHOVENS LETTERS

[According to Thayer (III. 9) printed from Jahn's copy. Jahn's
copies of Beethoven's letters, so often mentioned by me, were placed
at my disposal through the exceptional kindness of Dr. A. Kopfer-
mann. Much as I sought, I could not see this particular letter,
but I found a note to the following effect : " Copy of a Beethoven
letter to Dr. Troxler of Vienna, afterwards Professor at the Bern
High School. It belongs to the period when Clementi was in
Vienna, i.e., to the year 20 or 21 " (? ? ? ?). Everything right
except the stupid chronological blunder ; for Clementi was not in
Vienna either in 1807, 1820 or 1821. Jahn's copy must somewhere
or somehow have vanished from among these papers. It is certain
that Dr. Troxler also belonged to the Malfatti circle, like Beethoven,
von Gleichenstein, Dorner and others. The person addressed was
the well-known Swiss natural philosopher, Ignaz Paul Vital Troxler,
who was born in the Canton of Lucerne in 1780. In 1820 he was
appointed Professor of Philosophy and History at Lucerne, then
at Basle ; like his friend Beethoven, he was a liberty-loving citizen.
He died in 1866. His lectures on philosophy passed through several
editions.]

CXIX To Baron GLEICHENSTEIN

[1807]

I at once sent the enclosed to you yesterday afternoon
after your first refusal. They said that possibly you were
in the theatre, and yet it was scarcely half- past four. You
will see from the enclosed from Schweiger that I counted on
Dorner already knowing that he could come, and so I told
you neither the hour nor anything else. I myself, before the
rehearsal began, told the Archduke of your coming, and he
received the news graciously — you have lost a good thing,
not through not hearing my music, but you would have
seen an amiable, talented prince, and as the friend of your
friend you would not have felt the loftiness of the rank.
Forgive the small expression of pride ; it is based on the
pleasure of knowing that also those whom I love are at once
recognised ; there is also a touch of vanity in it. And so,
as always, from your friendship I get only irritation and
pain. Farewell— this evening I come to the dear M.'s.

Beethoven.

[According to Nohl, who gives the contents of the enclosed note
from Schweiger, chamberlain to the Archduke. It ran thus :
" With permission of the Archduke, I have already informed
Dorner, that it is arranged that he shall turn for the Master. Your

BEETHOVEN 'S LETTERS 117

friend Gleichenstein will find a cosy corner which he will share with
us. The Archduke is the same as yesterday and looking forward
to this evening, and so also is your friend Schweiger (Pour Monsieur
Louis von Beethoven)." Thus it was a question of a musical
evening in the palace of the Archduke, at which Beethoven com-
positions were to be given, and in which v. Gleichenstein took no
part, and thus did not make the acquaintance of the " amiable
talented " prince.]

CXX To the Same [1807]

Here's a specimen of Imperial taste — the music has
adapted itself so nobly to the poem, that one can truly say
that they both form a pair of tedious sisters — let me know if
you are staying in — but in time — cold friend farewell — how-
ever it may be with you, you are for once not right — not
in the least degree, as I, your

Beethoven.

[According to Nohl. Archduke Rudolf appears already in 1807
to have submitted his attempts at composition to his great teacher.]

CXXI To the Same

Dear G., [1807]

I beg you to get this draft cashed as quickly as possible.
My brother does not know where to take it — otherwise I
would not have troubled you. If it should be necessary for
me to go immediately with you to the person who changed
the last time, you will find me all ready. Farewell— I will
send to you early the day after to-morrow. I cannot, other-
wise I would come to you.

Beethoven.

[According to Nohl. From these and other kind services we
see that friend Zmeskall to whom formerly an appeal was always
made, was falling into the background. The enthusiastic friend,
and, like the other, a 'cellist, now gives assistance in all practical
matters, viz., Baron Ignaz v. Gleichenstein, to whom later on was
dedicated the 'cello sonata in A (Op. 69).]

118 BEETHOVENS LETTERS

CXXII To the Same

[1807]
Noble Friend !

Could you not manage to favour me to-day with a visit
only for a few minutes. Everything went tolerably well,
only I can with difficulty get over the electuary.

With highest respec
Yours truly,

Beethoven.

[According to Nolil. The owner of all these notes to Gleichen-
stein was formerly (1867) Frl. Bredl, of Munich, to whom they were
presented byTherese Malfatti (Baroness Droszdick). The medicine
here named shows us that even at this early and happy stage of his
earthly pilgrimage, he suffered from abdominal pains.]

CXXIII To the Same

[1807]

Let me know if you, perhaps, can only negotiate the draft
with much trouble — in that case I will see to it myself, as
best I can tackle such a piece of business.

In haste,

Your friend,

Beethoven.
[According to Nohl.]

CXXIV To the Same

[1807]

Be so kind, dear friend, and write down in French how
I ought to address Count Wurm at the Redoute. It's easy
enough for you, but not for me. I will send for it early
to-morrow morning. I did not see you last night at the
Redoute.

[According to Nohl.]

CXXV To the Same

[1807J
P.S.,

I desire no visits from you, highly honoured one, no
rendez-vous ; so that you may not be perplexed as to whether

BEETHOVENS LETTERS 119

you are able or wish to keep it — in short nothing at all —
except to be good enough first, to write to London ; secondly,
to get me some first-rate, sound, strong quill pens. Please
add what you pay for them to the account, which, as you
know, I have long wished to get from you, and now demand
with all insistence. My servant will call at your house
to-morrow early to make inquiry about it, and if not con-
venient, the morning after, or even later — my friendship
shall place no limits to your convenience.

Respectfully yours,

L. von Beethoven.
Pour Mr. de Gleichenstein.

[According to Nohl. The you [Sie] instead of the usual thou
[Du] in this piquant note shows that even in this intimate corre-
spondence between the two friends there were moments of ill-
humour. The request for Gleichenstein to write to London is
a sign that it was a question of fulfilling the contract with Muzio
Clementi, of whom we shall soon hear.]

CXXVI To the Same

[1807]

I beg you to let me know if the M. will be at home this
evening. You will certainly have had a good sleep. I have
indeed only slept a little, but such an awakening I prefer to
any sleep. Farewell.

Yours faithfully,

Beethoven.
[According to NohL]

CXXVII To the Same

[1807]

As I shall not have sufficient time this morning, I will
come about midday to the Wild Man in the Prater ; I presume
I shall not meet with any wild men there, but beautiful
Graces, and for that I must first of all put myself into harness.
I know that if I come just on the stroke of twelve, you will
not consider me a glutton, and so I will be punctual. If I
still find you at home, well and good, if not, I will hasten to
the Prater in order to embrace you.

Your friend,

Beethoven.

120 BEETHOVENS LETTERS

[According to Nohl. The M. and the " beautiful Graces " are
naturally the sisters Malfatti, especially Therese.]

CXXVIII Agreement between BEETHOVEN and
MUZIO CLEMENTI

[April 1807]

" La convention suivante a ete faite entre Monsieur M.
Clementi et Monsieur Louis v. Beethoven

1. Monsieur Louis v. Beethoven cede a Monsieur M.
Clementi les manuscrits de ses oeuvres ci-apres ensuivis,
avec le droit de les publier dans les royaumes unis britan-
niques, en se reservant la liberte de faire publier ou de vendre
pour faire publier ces memes ouvrages hors des dits royaumes :

a. trois quatuors.

b. une symphonic

N.B. la quatrieme qu'il a compose (e)

c. une Ouvertüre de Coriolan

tragedie de Mr. Collin

d. un concert pour le piano

N.B. le quatrieme qu'il a compose.

e. un concert pour le violon

N.B. le premier qu'il a compose.

f. ce dernier concert arrange pour le piano avec des notes

additionelles.

2. Monsieur M. Clementi fera payer pour ces six ouvrages
ä M. L. v. Beethoven la valeur de deux cents Liv. Sterl.
au cours de Vienne par Mess. Schuller et Comp, aussitöt
qu'on aura ä Vienne la nouvelle de l'arrive de ces ouvrages
ä Londres.

3. Si Monsieur L. v. Beethoven ne pouvait livrer ensemble
ces six ouvrages, il ne seroit paye par Mess. Schuller et Comp,
qu'ä proportion des pieces livrees, p.ex. en livrant la moitie,
il recevra la moitie, en livrant le tiers il recevra le tiers de la
somme con venue.

Monsieur L. van Beethoven promet de ne vendre ces
ouvrages soit en allemagne, soit en france, soit ailleurs,
qu'avec la condition de ne les publier que quatre Mois apres
leur depart respectif pour l'angleterre : pour le concert pour
le violon et pour la Symphonie et l'Ouverture, qui viennent
de partir pour l'angleterre, Mons. L. v. Beethoven promet de
les vendre qu'ä condition de ne les publier avant le 1 Sept.
18(y,

(%>. 6/ %u

si — ■ — — — — — ■ ■■■■ - — . -

'$ßu&*&>§ p^r?

First page of the Violin Concerto in D. Op. 61.

BEETHOVENS LETTERS 121

5. On est convenu de plus, que Mons. L. v. Beethoven
compose aux memes (') conditions dans un temps non deter-
mine et a son aise trois Sonates ou deux Sonates et une Fantai-
sie pour le piano avec ou sans accompagnement comme il
voudra, et que Mons. M. Clementi lui fera payer de la meme
(!) maniere soixante livres Sterl. ,>

6. Mons. M. Clementi donnera ä Mons. L. v. Beethoven
deux exemplaires de chacun de ses ouvrages.

fait en double et signe ä Vienne le zo (!) Avril 1807.

Muzio Clementi. Louis van Beethoven.
comme temoin
J. Gleichenstein."

[According to the original among the Schindler Beethoven docu-
ments. This " Convention " was first published by Thayer (III.
10) from Jahn's copy. The latter gives the dedications. The three
quartets (Op. 59) were, according to a change in Beethoven's own
hand, to be dedicated " a Son Altesse le Prince Charles de Lich-
nowsky " ; in the arrangement of the violin Concerto the name
" Frau von Breuning " was scratched through. The pianoforte
Concerto in G was dedicated to the Archduke Rudolf, but in its
place was chosen a French title with " dedie a son ami Gleichen-
stein." The original titles, however, were restored. The agree-
ment refused by Pleyel was concluded with Clementi in a brilliant
manner for Beethoven. Clementi often came to Germany ; his
musical contest with Mozart in 1781 will be remembered. Ries
in the Biographical Notices explains at length the reason of the
time it took before Beethoven and Clementi made each other's
acquaintance.

An account is given in an article entitled " Clementi Corre-
spondence," signed J. S. S. in the Monthly Musical Record for
August 1902, in which is given a portion of a letter from Clementi
to Collard, his business partner in London, in which he describes his
meeting Beethoven " by chance one day in the street," and how
he " made a compleat conquest of that haughty beauty." Clementi
then describes the agreement made with him as in the above docu-
ment. From other letters of Clementi in this article, we learn
that Beethoven had not been paid two years and a half after the
signing of the agreement. — Tr.]

CXXIX To the Poet and Court Secretary Baron
HEINRICH COLLIN

[1807 ?]

I beg you, dear friend, as you will probably remember
which you wrote to me, when Baron Hartl gave you the

122 BEETHOVENS LETTERS

commissionlconcerning my, concert for the theatre-poor. I
was so delighted when you wrote to me about it, that I went
at once with the note to my friend Breuning, in order to show
it to him ; I left it there, and so it got lost. The contents,
so far as I can remember, were to the effect, "that you wrote
me you had spoken with Baron Hartl about a day for a concert,
and that he, thereupon, had commissioned you to write to
me, that if for this year's concert for the theatre-poor I would
produce some important works and conduct them myself,
I could at once select a day for a concert in the theatre an
der Wien ; also on these conditions I could have a day every
year. Vive vale" I am sure the note was worded thus.
I hope you will not now refuse to write it out again for me.
It needs neither day nor date. With this note I will go once
again to Baron Hartl ; perhaps it may make some impression
— and I may obtain what he promised to me and to you. A
few days more and I shall see you. Up to now work and
worry prevented me from doing so.

j Your most devoted,

Beethoven.
To Baron Collin, Court Secretary.

[According to the original manuscript in the Vienna court
library, first published by Nohl (Neue Briefe Beethovens). Heinrich
Joseph von Collin (1771-1811), was jurist and poet ; in 1803 he
was raised to the rank of a nobleman, and in 1809 became court
councillor. Of his tragedies may be named : Regulus, Polyxena
and Coriolanus ; for the last Beethoven wrote his great overture.
The composer was expecting a new libretto from this poet. Hartl,
up to the year 1807, was " factotum " at the Imperial Theatres,
and Collin had influence with the management.]

CXXX To the Same

[1807]

I hear that you, honoured Collin, will fall in with my
wish and your own proposal. I would willingly express
my joy by word of mouth, but I have for the moment much
work, and to this you must ascribe these lines — and not to
any want of regard for you. Here is the Armida; as soon
as you have made sufficient use of it, please send it back, for
it does not belong to me.

[According to Jahn; first printed by Nohl (Briefe Beethovens).
From this it is clear that H. Collin had declared his readiness to

BEETHOVENS LETTERS 123

prepare an opera text for the composer. He tried with Macbeth,
then particularly with Tasso's Gerusalemme Uberata, from which
he prepared the text for an oratorio ; but even with this he was not
successful, still less with Bradamante. Johann Friedrich Reichardt
in his " Vertraute Briefen aus Wien," writes : "As the poet (Collin)
saw how pleased I was with his poem (Bradamante), he offered it to
me to set to music, and I joyfully accepted. The opera manage-
ment has already accepted the opera, and declared that it wall spend
money on its production. The poet had previously intended it for
simple-heart Beethoven, but the latter could not come to terms
with the management." Another letter to Collin which will soon be
given, will throw further light on the matter. The original of the
present letter was still in 1879 in the collection of Ritter von Frank,
at Graz.]

CXXXI To the Same

[1807]
For Baron Collin,

[This letter was written a week ago but got mislaid.]

Great irate poet, give up Reichardt. Take my music for
your poetry ; I promise that you will not thereby suffer. As
soon as my concert is over, which really if it is to answer the
purpose of bringing me in something robs me of much time,
I will come to you, and then we will at once take in hand the
opera — and it shall soon sound. For the rest you can ring
out your just complaints about me by word of mouth. But
if you are really in earnest about letting R. write the opera
I beg you to let me know that at once.

With high esteem,
Yours truly,

Beethoven.
My rooms are 1074 in the Krügerstrasse, first floor, in the
house of Countess Erdödy.

[According to a careful copy made by Mr. Edward Speyer, who
possesses the original, and who purchased it at a sale in London in
1902. " Bradamante," the subject of the letter, appears to have been
frequently discussed between Beethoven and the "great irate"
poet, before capellmeister Reichardt, whom Beethoven did not
exactly hold in high esteem, received the poem to set to music]

124 BEETHOVENS LETTERS

CXXXII To Baron GLEICHENSTEIN

[1807]
Dear good Gleichenstein,

I should be awfully glad if I could speak with you this
morning between one and two o'clock, or this afternoon,
wherever you like to make an appointment. To-day I have
too much to do to be able to get to your house early enough
to catch you. Give me an answer — and do not forget to
fix the place where we can see each other. Farewell, and
love.

Your Beethoven.

[According to Nohl (B. B.) ; the original was at that time (1805)
in the possession of the court musician Bärmann, Munich. The
master wished to see his friend, either about Malfatti matters, or
the contract business with Clementi.]

CXXXIII To the Same

[1807]

As Frau M. told me yesterday that she really wanted to
select another piano at Schanz to-day, I wish she would give
me full liberty to select one. It shall not cost more than
500 fl. but will be worth a great deal more. You know that
although the firms always offer me a certain sum, I never
accept it. But as by this means I can buy an expensive
instrument at a very cheap price, I would willingly, on this
occasion, make the first exception to my fixed practice in
such matter, as soon as you let me know whether my proposal
is accepted. Farewell, dear good Gleichenstein. We shall
see each other to-morrow and you can give me the answer.

Your Beethoven.

[Outside in an unknown hand.]

"Gigaud's pretty collar [?]

Secretary key belonging to F. v. Malfatti.

4, Greetings from all of us to Gigaud, not

5, forgetting B. ; I earnestly beg this of you."

[According to Nohl (N. B. B.). From this letter we hear of
Beethoven's praiseworthy custom with regard to commissions on
pianos. Another exception to his hard and fast practice will be
found in a letter to Councillor Varena at Graz (July 1815). In the
present and later instance, the instrument was to be selected from

BEETHOVENS LETTERS 125

the pianoforte manufactory of Schanz ; otherwise Beethoven
favoured the Streicher-Stein and the Graf instruments. The
addition in an unknown hand refers to Gigaud or — as Thayer
ascertained — Gigons, the pet dog of Baroness Malfatti. A small
adventure with this little dog will be found in the next letter.]

CXXXIV To the Same

[1807]

Here is the S. which I promised Therese. As I cannot
see her to-day, give it to her. Remember me to them all,
I am so happy in their company ; it is as if the wounds, with
which bad people have inflicted on my soul, might through
them be healed. I thank you, good G for having introduced
me to them. Here are another 50 fl. for the neckcloths;
if you want more, let me know. Yon are mistaken, if you
believe that Gigons only follows you. No, even I have had
the pleasure of seeing him keep close to me. He sat beside
me at dinner in the evening, he followed me home ; in short,
he procured very good entertainment for me — at any rate
I never could get right to the top, but fairly low down —
farewell, love me.

Yours,

Beethoven.

[According to Nohl. The Sonata (S) sent to Therese was
perhaps the " Appassionata." The little dog Gigons had, so it seems,
attached itself to Beethoven, of whose fondness for dogs nothing
has been as yet heard.

For concluding sentence see Preface re play upon words. — Tr.]

CXXXV To the Same

[1807]

The Countess invites you to dinner to-day. Write to
Fezburg [Pressburg ?] and ask the highest price they will
give for the purchase of a piano. Do not forget about the
Hamburger quills.

[According to Nohl. This was the period when there was much
music-making with his dear Countess Erdödy, to whom he dedicated
the two Trios (Op. 70) composed in 1808.]

126 BEETHOVENS LETTERS

CXXXVI To THERESE VON MALFATTI

[1807]

You receive herewith, honoured Therese, what I promised,
and had it not been for urgent hindrances, you would have
received more, in order to show you that I always offer more
to my friends than I actually promise. I hope and have every
reason to believe that you are nicely occupied and as pleasingly
entertained — but I hope not too much, so that you may also
think of us. It would probably be expecting too much of
you, or overrating my own importance, if I ascribed to you
" men are not only together when they are together ; even
he who is far away, who has departed, is still in our thoughts."
Who would ascribe anything of the kind to the lively T. who
takes life so easily ?

Pray do not forget the pianoforte among your occupa-
tions, or, indeed, music generally. You have such fine
talent for it. Why not devote yourself entirely to it ? you
who have such feeling for all that is beautiful and good. Why
will you not make use of this, in order that you may recognise
in so beautiful an art the higher perfection which casts down
its rays even on us. I am very solitary and quiet, although
lights* now and again might awaken me ; but since you all
went away from here, I feel in me a void which cannot be
filled ; my art, even, otherwise so faithful to me, has not
been able to gain any triumph. Your piano is ordered and
you will soon receive it. What a difference you will have
found between the treatment of the theme I improvised one
evening, and the way in which I recently wrote it down for
you. Explain that to yourself, but don't take too much
punch to help you. How lucky you are, to be able to go
so soon to the country ; I cannot enjoy that happiness
until the 8th. I am happy as a child at the thought of
wandering among clusters of bushes, in the woods, among
trees, herbs, rocks. No man loves the country more than
I ; for do not forests, trees, rocks re-echo that for which
mankind longs.

[Here follow four lines struck through, which refer to a composi-
tion.]

Soon you will receive other compositions of mine, in which
you will not have to complain much about difficulties. Have

* Lichter (lights), or, according to some, the word is Dichter (poets).— Tr.

BEETHOVEN'S LETTERS 127

you read Goethe's Wilhelm Meister, the Schlegel translation
of Shakespeare ; one has much leisure in the country, and
it will perhaps be agreeable to you if I send you these works.
I happen to have an acquaintance in your neighbourhood,
so perhaps I shall come early one morning and spend half
an hour at your house, and be off again ; notice that I shall
inflict on you the shortest ennui.

Commend me to the good wishes of your father, your
mother, although I can claim no right for so doing — and the
same, likewise, to cousin Mm. [?]. Farewell, honoured T.
I wish you all that is good and beautiful in life. Keep me,
and willingly, in remembrance — forget my wild behaviour.
Be convinced that no one more than myself can desire to
know that your life is joyous, prosperous, even though you
take no interest in

Your most devoted servant and friend,

Beethoven.

N.B. — It would really be very nice on your part to send
me a few lines to say in what way I can be of service here ?

[According to the original manuscript in the possession of Herr
Carl Meinert of Frankfort-on-Main ; first published by Nohl. He
gave it indeed twice : the first time addressed to Baroness Dross-
dick ; for he only reproduced it from a copy. Nohl states that the
court musician Bärmann received the original from Baroness
Drossdick as a gift, and then at her wish sent it to her to look at it
again. Bärmann never received it back, for the Baroness died soon
afterwards. Her friend, the composer, Schachner in London became
her heir. Bärmann had the copy made from which Nohl published.
For further revelation of the secrets of this letter, I refer readers
to my already mentioned article " Die Geschwister von Malfatti."
Beethoven complains of having obtained no triumph for his art ;
and as a matter of fact the year 1807 was a poor one as regards
production. The cousin M., Nohl assures us, was the Baroness
Magdalene Gudenus, nee Schultz.]

CXXXVII To Baron GLEICHENSTEIN

[June 1807]
Dear Gleichenstein,

The night before last I had a dream. It seemed to me
as if you were in a stable, so absorbed in gazing at two magni-
ficent horses, that you were oblivious to all that was going
on round about you.

128 BEETHOVENS LETTERS

Your hat purchase has turned out badly. Early this
morning as I came here it got slit ; as it costs too much money
to be taken in in this dreadful manner, you must try and get
them to take it back and give you another. Meanwhile you
can inform these bad shopkeepers that I am sending it back
to you — it is really too irritating.

Yesterday and to-day I have been very bad ; I have
suffered fearfully from headache. May heaven rid me of it
— one infirmity is enough for me. If you can, send me
Bahrd's translation of Tacitus. More another time ; I
feel so ill that I can only write a few lines — farewell — think
of my dream and of myself.

Your faithful

Beethoven.
Baaden, June 13.

[This is a postscript though not so marked.]

From Simrock's letter I gather that we may expect a
favourable answer from Paris. Tell my brother to write
whether you think so, in order that everything may be
copied again quickly. Send me the number of your house.
;Pour Mr. de Gleichenstein.

Send me an answer about the hat.

[According to Nohl.]

CXXXVIII To the Same

[June 1807]

I hope for an answer from you. So far as the letter from
Simrock is concerned, I really think that, with modifications,
the things might be given to him, for at any ra'e it would
always be a certain sum ; a contract could be drawn up with
him only for Paris. After that he can do what he likes — the
Industrie-Kontor could raise no objection. What do you
think ? I do not yet feel over bright, I hope I shall soon
be better — come soon to me. I heartily embrace you — best
regards in a very special quarter.

Your Beethoven.

[Outside] Baden, June 16th.

To'my friend Gleichen Stein, without his equal in good and
bad.

The No. of Gleichenstein's house.

BEETHOVENS LETTERS 129

[According to Nohl. Possibly these transactions with N-
Simrock of Bonn were connected with Ignaz Pleyel, with whom a
contract was to be drawn up. See preceding letter. The " very
special quarter " referred to the sisters Malfatti ; friend Gleichenstein,
however, found himself in a fatal position ; he could not give his
friend any hope of winning Therese.] [Gleichen, German for
equal ; hence play upon the word in postscript.]

CXXXIX To the Same

[June 1807]
Dear good G. !

You did not turn up yesterday — nevertheless I am com-
pelled to write to you to-day. According to Schmidt, I must
not stop here any longer. I therefore beg you to take up the
matter with the Industrie-Kontor. So far as the haggling
is concerned, you can leave that to my brother, the apothecary
— but as the matter itself is of some importance, and as you
have hitherto dealt for me with the Industrie-Kontor,
my brother, for several reasons, could not be employed.
Here are a few lines to the I.-K. about the matter. If you
come to-morrow, arrange so that I may drive back with you
— farewell.

I love you, and though you may blame all my actions,
since your point of view is a false one, you shall not outdo
me in that matter — perhaps West can come with you.

Your Beethoven.

[According to Nohl. Schmidt about this period was Beethoven's
physician ; see the Heiligenstadt Will, also Letter XCVI. of this
edition. The " few lines " follow here according to Nohl.]

P. T. — Baron Gleichenstein, my friend — has a proposal
to make to you on my behalf, by accepting which you would
greatly oblige me. This proposal does not imply distrust
of you, but my present expenses in the matter of my health
are heavy, and just at this very moment I find insuperable
difficulties in getting moneys due to me.

Yours very truly,

Beethoven.
Baden, 23rd June.

[" West," Thomas West, or Karl August West, was the pseu-
donym of the theatre director and poet, Joseph Schreyvogel
(1768-1832), a prominent man in the theatrical history of Vienna.

130 BEETHOVENS LETTERS

In 1804 he founded the Industrie-Kontor, whereby he became
actively connected with Beethoven. His name occurs in many
of the composer's letters.]

CXL To the Same

[June or July 1807]
Dear good Gleichenstein,

Be good enough to hand this over to the copyist in the
morning. It concerns, as you see, the symphony. Anyhow,
if he should not be ready to-morrow with the quartet, then
take it away and hand it in at the Industrie-Kontor. You
can tell my brother that I certainly shall not write to him
any more — the reason why, I already know. It is because
he lent me money, and also spent some on my account ; so
he is — / know my brothers — indeed already anxious, as I cannot
yet return it ; and now probably the other, animated by a
spirit of revenge against me, now worries him. But the best
will be to get the whole 15 hundred gulden (from the I.-K.)
and pay him with it ; then the matter will be at an end.
Heaven keep me from having to receive favours from my
brothers. Farewell — greetings to West.

Your Beethoven.

N.B. — The symphony I sent from here to the Industrie-
Kontor ; they will probably have received it. The next
time you come here bring me some good sealing-wax.

To be delivered at the Hohe Brücke, No. 155, 2nd or 3rd
floor.

[According to the original manuscript in the possession of Carl
Meinert, Frankfort-on-Main ; first published by Nohl. The reference
to the brothers Carl and Johann is in keeping with all that is said
concerning this unpleasant subject by Ries and Schindler. The
here-mentioned symphony in B flat, Op. 60, actually appeared in
March 1809 in Schreyvogel- West's Industrie-Kontor.]

CXLI To Prince ESTERHAZY

[26th July, 1807]
Most serene, most gracious Prince,

As I am told that you, my prince, have inquired about
the Mass which you commissioned me to write for you, I
take the liberty to announce to you, most serene prince,

BEETHOVEN'S LETTERS 131

that you will receive it at latest by the 20th of August — so
that there will be sufficient time to arrange a performance for
the name-day of the most serene princess. Exceptionally advan-
tageous offers which were made to me from London just as
I had the misfortune to be disappointed of my benefit day
at the theatre, and which necessity forced me gladly to accept,
delayed the completion of the Mass, however much I indeed
wished to appear with it in your presence, most serene prince.
In addition I suffered later on with my head, which at first,
and afterwards, prevented me from working, and even now
I cannot do much. Now as everything is so readily explained
to my disadvantage, I herewith enclose, most serene prince,
one of the letters from my physician. May I add that with
much fear I shall hand to you the Mass, since you, most
serene prince, are accustomed to hear the inimitable
masterpieces of the great Haydn.

Most serene, most gracious prince ! with high esteem.
Your most devoted servant,

Ludwig van Beethoven.
Baden, July 26.

[According to Pohl in year 27 of the " Grenzboten " (1868).
A copy of the score, with many corrections in Beethoven's hand,
bore the following autograph :

Missa composta e dedicata al Sermo Eccellm0

Principe

Nicolo Esterhazy de Galantha, etc. etc.

di Luigi v. Beethoven.

The exact date of the first performance, according to Pohl, was
September 13, 1807. Beethoven, in his reference to Haydn's
masterpieces, seems to have been in earnest. The prince's taste
was spoilt by Haydn's style ; that of Beethoven did not appeal to
him. It was the custom at Eisenstadt for the native and foreign
musical notabilities to assemble in the prince's drawing-room, after-
service, and exchange opinions with him concerning the music
which had been performed. When Beethoven entered, the prince
greeted him with the puzzling question, "But, my dear Beethoven,
what have you been doing now ? " while Joh. Nep. Hummel, the
new Capellmeister, standing next to the prince, is said to have
laughed. The work, after all, was not dedicated to the prince,
but to Prince Kinsky. Three movements from the Mass were
performed at Beethoven's benefit concert in 1808, but the complete
work only in 1816. It was published by B. and H. in 1812.]

132 BEETHOVENS LETTERS

CXLII To GLEICHENSTEIN

[1807]

I think — you ought to be paid 60 florins over the 15
hundred, or, if you think it consistent with my honesty —
the sum of 16 hundred. But I leave it entirely to you, only
honesty and justice must be your guide.

[According to Nohl.]

CXLIII To the Same

[Autumn 1807]

I am not well, and cannot therefore come to you. Take
a few bottles of wine, they will be better placed with you.
I can well imagine that the arrival of M. takes up all your
attention, so that I cannot even ask you to come and see me.
But if you can, come alone — farewell. Be kind to me.

Your Beethoven.

[According to Nohl. The " arrival of M." means the return of
the Malfatti family from the country.]

CXLIV To Baron ZMESKALL

Dear Z.. [1808 ?]

The brothers Jahn attract me as little as they do you —
but they have so bothered me, and finally appealed to you,
to let them come here, and so I have consented. For
heaven's sake come, perhaps I may call for you at Zizius's
house : anyhow come straight here, so that I may not be
alone with them. We will leave our commissions till you are
better — if you cannot come to-day to the Swan where I shall
certainly be. Your most devoted,

Beethoven.

[According to Thayer (II. 342) who formerly (1872) possessed
the original. He rightly supposes that the " brothers Jahn," who
had a ball and concert room in the Himmelpfortgasse, were employed
by the court. The name Zizius, which occurs for the first time,
refers to Joh. Nepomuk Zizius (1772-1824), jurist and professor
of statistics, lover and promoter of music ; Beethoven frequented
his house. Z. was professor at he Vienna University.]

i <»

BEETHOVENS LETTERS 133

CXLV To an Unknown Poet

[March 1808]
Dear Brother,

In this way I am satisfied, if somehow or other a guarantee
can be given in writing for the 2000 florins for the opera. I
willingly give up the theatre day, although I am convinced
beforehand that only worthless people get these days even
this year ; however, as regards the Redoutensaal, I will
carefully turn the matter over in my mind. Dear brother,
farewell ; betake yourself meanwhile into your serene, royal,
poetical realm ; I will see to mine, the musical, no less care-
fully. I am getting rid of my colic — but yesterday my
poor finger had to go through a painful nail operation ; yester-
day when I wrote to you, it looked very threatening ; to-day
it is quite weak from pain.

N.B. — I must still keep at home to-day, but to-morrow
I hope to go to H.

[According to Jahn who states that the original belonged to
Herr Lamperta of Bonn. The poet may have been Friedrich
Treitsche who — though only at a later period — held lively, and very
friendly intercourse with Beethoven. Or the letter may have been
addressed to the poet Heinrich von Collin, with whom, at the very
time at which this letter was written, Beethoven was in communica-
tion concerning new opera poems. Even a third poet, Chr. Kuffner,
might be taken into consideration, for he also about this time wrote
the words of the Choral Fantasia (Op. 80). Dr. Wegeler, in the
Biographical Notices, says : " Stephen von Breuning wrote to me
in March 1808, that Beethoven was near losing a finger, through a
Panaritium ; however, he is going on well." This of course closely
fixes the date of the letter.]

CXLVI To JOSEPH, Baron HAMMER-PURGSTALL

Your kind attention in sending your still unknown literary
treasures in manuscript almost puts me to shame. Though
I return both operettas, I am most thankful to you for letting
me see them. Overloaded with professional work just now,
it is impossible for me to give special thought to the Indian
Singspiel. As soon, however, as my time permits, I will
pay you a visit, and talk over this matter with you, also about
the oratorio, The Deluge.

134 BEETHOVENS LETTERS

Count me at all times among the true admirers of your
great gifts.

With high esteem,

Your devoted servant,

Beethoven.

[According to Jahn's copy. First published by Nohl (B. B.).
The original was formerly in the possession of Herr Petter. Nohl
and Thayer both state that this letter, without address or date, was
for the famous Orientalist Hammer-Purgstall. 0. Jahn, however,
has marked on the copy used by me, " To (Christoph Kuffner ?)."
Anyhow both men might be taken into consideration. Of Kuffner
it is known that at a late period Beethoven conferred at length with
him about oratorio texts ; nay, that he positively wished to set his
" Saul and David " to music. The letter, however, is most probably
an answer to a letter of Hammer's, the original of which is among
Schindler's Beethoven documents in the Berlin library. The letter,
showing high admiration for Beethoven's genius, is here given in
full for the first time :

Ash Wednesday.

Immediately after the departure of the Persian ambassador,
I was about to put before the censor copies of my Persian Singspiel
and Indian Pastoral Play, which were already completed before
his arrival. To-day, however, Mr. Zml. [or Shub. ?] informed me
that you wished to set to music an Indian chorus of religious
character, and as my dramatically worked-out poem specially
presents the religious system of the Hindus which is so poetical and
emotional — there might be something in it answering to your wish.

At the same time I also take the liberty of enclosing my Persian
Singspiel, which is more ideal, and written with a view to music,
also the oratorio The Deluge, for the sublime subject of the latter,
among all which Holy Scripture offers us, could by the sublimity
of your genius be mastered and victoriously dealt with. Many
faults in the text may by chance have been fortunate ones ; if, how-
ever, you should not find the whole successfully carried out, I am
still convinced that the art of music only through Beethoven 's genius
can stir up seas and calm the deluges.]

CXLVII To BARON VON GLEICHENSTEIN

[Spring 1808]

Pour mon ami Baron de Gleichenstein,

You are living on a calm peaceful sea, or are already safe
in harbour. You do not feel the distress of a friend exposed
to the storm — or dare you not feel it. What will the inhabit-

BEETHOVENS LETTERS 135

ants in the star of Venus Urania think of me ? how will they
judge me without my being seen ? — my pride is so humbled,
even uninvited I would go there with you. Let me see you
early to-morrow at my house ; I expect you about 9 o'clock
to breakfast. Dorner can come another time with you. If
only you would be more candid, you are certainly hiding
something from me, you wish to spare me, and with this
uncertainty you cause me more pain than with certainty
however fatal. Farewell, if you cannot come, let me know
beforehand — think and act forme. I cannot entrust to paper
more of what is going on within me.

[According to Nohl. At this time Gleichenstein may either
have been engaged to Anne, sister of Therese, or have known with
certainty that she would become his wife ; the marriage only took
place in 1811. Dr. Dorner was a physician.]

CXLVIII To the Same

[Spring 1808]

Your news hurled me from the regions of highest rapture
to the lowest depths. Why add that you would let me know
when there was to be music again ? Am I then nothing more
than a musician to you and to the other ? That seems at
least to be the explanation. I can therefore only seek support
in my own breast ; for me there is none from without. No,
friendship, or feelings similar to it, has nothing but wounds
for me. So be it then, for thyself poor Beethoven, no happi-
ness comes from without, thou must create everything from
within ; only in the ideal world canst thou find friends.
I beg you to calm my mind, and say whether I did wrong
yesterday, or if you cannot do that, tell me the truth ; I
hear it as willingly as I speak it. There is still time, truth
may still be of service to me. Farewell — do not let your
only friend Dorner know anything of all this.

[According to Nohl. Sorrowfully the composer once again
recognised that his path in life was not strewn with roses. Later
on we shall have something to say about Dr. Dorner.]

CXLIX To the Same

[1808]

Dear Friend so cursedly late — press all warmly to your
heart. Why cannot mine share in it ? Farewell, I will come

136 BEETHOVEN'S LETTERS

to you early on Wednesday. The letter is so written that
all the world can read it — if you do not find the paper cover
clean enough, put another round it ; at night I cannot make
out whether it is clean. Farewell, dear friend, think and act
also for

Your faithful friend,

Beethoven.
[According to Nohl.]

CL To FRAU MARIE BIGOT, nee KIENE

[Summer 1808]
My dear, honoured Marie !

The weather is so divinely beautiful — and who knows
whether it will be so to-morrow ? I therefore propose to
come and fetch you to-day about 12 noon for a drive. As
Bigot is probably already out, we cannot of course take him
with us — but to give it up entirely on that account, even
Bigot himself would not make such a demand. Only the
forenoons are now best. Why not seize the moment which
passes away so quickly. It would be quite unlike Marie,
who is so enlightened and well-bred, if for the sake of mere
scruples she would wish to deprive me of the very great
pleasure. Oh ! whatever reasons you might assign for not
accepting ray proposal, I should ascribe it entirely to the
little confidence which you place in my character — and should
never believe that you entertain true friendship for me.
Wrap up Caroline in swaddling-clothes from head to foot, so
that nothing may happen to her. Answer me, my dear M.,
whether you can. I do not ask whether you are willing — for
the latter would only bring a declaration to my detriment —
so only answer in [one of] two words, yes or no. Farewell,
and arrange that the selfish pleasure may be granted to me
of sharing with two persons in whom I take so great interest,
the cheerful enjoyment of bright beautiful nature.

Your friend and admirer,

L. von Beethoven.

[According to the original manuscript in the possession of Carl
Meinert of Frankfort-on-Main. The date — 1804-1805 — assigned to it
in the Bonn Catalogue of the Beethoven Festival of 1890 is too early ;
this is clear from Reichardt's " Vertraute Briefe " from Vienna
during 1808-1809. The writer had much to say about Madame
Bigot. Further, he states that Bigot, who had been in Berlin,

BEETHOVENS LETTERS 137

became in 1808 librarian to Prince Rasumowsky, in whose palace
Beethoven was a frequent guest. This and the following letter,
which refers to the same subject, probably belong to 1808. The
second letter shows clearly that Marie Bigot did not accept Beet-
hoven's invitation to take her and little Caroline, about three years
old, for a drive.]

CLI To the Married Couple BIGOT

[Probably Summer 1808]
Dear Marie, dear Bigot,

Only with the deepest regret am I forced to perceive that
the purest, most innocent, feelings can often be misconstrued.
As you have received me so kindly, it never occurred to me
to explain it otherwise than that you bestow on me your
friendship. You must think me very vain or small-minded,
if you suppose that the civility itself of such excellent persons
as you are, could lead me to believe that — I had at once won
your affection. Besides, it is one of my first principles never
to stand in other than friendly relationship with the wife of
another man. Never by such a relationship [as you suggest]
would I fill my breast with distrust against her who may one
day share my fate with me — and so taint for myself the most
beautiful, the purest life.

It is perhaps possible that sometimes I have not joked with
Bigot in a sufficiently refined way ; I have indeed told both of
you that occasionally I am very free in speech. I am per-
fectly natural with all my friends, and hate all restraint.
I now also count Bigot among them, and if anything I do
displeases him, friendship demands from him and you to
tell me so — and I will certainly take care not to offend him
again — but how can good Marie put such bad meaning
on my actions.

With regard to my invitation to take a drive with you
and Caroline, it was natural, that, as Bigot, the day before,
was opposed to your going out alone with me, I was forced
to conclude that you both probably found it unbecoming
or objectionable — and when I wrote to you, I only wished to
make you understand that I saw no harm in it. And so
when I further declared, that I attached great value on your
not declining, this was only that I might induce you to enjoy
the splendid, beautiful day; I was thinking more of your
and Caroline's pleasure than of mine, and I thought, if I
declared that mistrust on your part or a refusal would be

138 BEETHOVENS LETTERS

a real offence to me, by this means almost to compel you to
yield to my wish. The matter really deserves careful reflec-
tion on your part, how you can make amends for having
spoilt this day so bright for me, owing as much to my frame
of mind as to the cheerful weather. When I said that you
misunderstand me, your present judgment of me shows that
I was quite right, not to speak of what you thought to yourself
about it. When I said that something bad would come of
it, if I came to you, this was more as a joke. The object was
to show you how much everything connected with you attracts
me ; so that I have no greater wish than to be able always
to live with you ; and that is the truth. Even supposing
there was a hidden meaning in it, the most holy friendship
can often have secrets, but — on that account to misinterpret
the secret of a friend because one cannot at once fathom it —
that you ought not to do. Dear Bigot, dear Marie, never,
never will you find me ignoble. From childhood onwards
I learnt to love virtue — and all that is beautiful and good —
you have deeply pained me ; but it shall only serve to render our
friendship ever firmer. To-day I am really not well, and it
would be difficult for me to see you. Since yesterday after the
quartets, my sensitiveness and my imagination pictured to
me the thought that I had caused you suffering. I went
at night to the ball for distraction, but in vain. Everywhere
the picture of you all pursued me ; it kept saying to me,
they are so good and perhaps through you they are suffering.
Thoroughly depressed I hastened away — write to me a few lines.
Your true friend Beethoven embraces you all.

[From a copy which Jahn possessed, and from which he published
it in 1867. Marie Bigot, nee Kiene, was born at Colmar in 1786.
She married in 1804 and came to Vienna. Soon after 1809 she and
her husband went to Paris, where Marie Bigot soon became much
sought after as teacher of the pianoforte. Her physical strength,
however, soon declined, and she died in September 1820, in her
thirty-fourth year.]

CLII Pour MONSIEUR DE BIGOT

[1808]
My dear good Bigot,

I wished to come to you yesterday, in order to settle my
little debt, but was prevented. As I again may not be
able to come to-day, I do so by writing. Please thank
Madame Moreau once again for the pleasure which she afforded

BEETHOVEN S LETTERS 1JJ9

me ; even though she was not exactly willing, still I was
enabled to spend a most pleasant evening with you all.
Farewell, and do not kiss your wife too often.

Wholly yours,

Beethoven.

[This note, from the collection of the late publisher, J. Schu-
berth,was published by Nohl in his "Mosaik." The herein-named
Madame Moreau was probably the lady often mentioned by J. F.
Reichardt in his " Vertraute Briefe," as the very musical wife of
the architect Moreau. In one letter (January 26, 1809) he writes
about a select party at the house of Madame Bigot de Morogues.
It had been arranged in honour of Reichardt, so that he might hear
performances of Beethoven's new grand sonatas and chamber
works. On this evening she plaj^ed no fewer than five grand
sonatas. There was also a Madame Julie Moreau, a court actress
and singer, who may have belonged to Beethoven's circle of friends.]

CLIII To MESSRS. BREITKOPF and HARTEL,

Leipzig

[8th June, 1808]

Vienna, 8th June.
Sirs,

This letter is the fault of the private tutor of young Count
Schönfeld, for he assured me that you again wished to have
some works from me — although after so many breakings
off I felt almost convinced that also this renewal would
again prove fruitless. At the present moment I only offer
you the following works — 2 Symphonies, one Mass, and a
Sonata for pianoforte and 'cello. N.B. : for the lot I ask
900 florins ; * this sum of 900 florins, however, must be
paid according to Vienna currency, in convention-coin, and
this must be expressly stated on the draft. For several
reasons I must make the condition with regard to the 2
Symphonies, that, reckoning from June 1st, they must not
be published before six months. I shall probably make a
tour as winter approaches, and at any rate I do not wish
them to become known during the summer. I could, if
I chose, let the Industrie-Kontor here have them, for last
year they accepted 7 important works of mine, almost all
of which are now in print. And though, indeed, they would
willingly accept all I offer, yet, as I have often told you, I
prefer your firm to all others. If you only decide to treat

* Hurry is my excuse for the blot.

140 BEETHOVENS LETTERS

with me, I am convinced that both you and myself will gain
thereby. In many things you will find me by no means
greedy after money, but, on the contrary, ready to meet you,
and waive all question of profit ; and through such a con-
nection something really good might turn out not for me
alone, but also for art. Let me know your decision as soon as
possible, so that I may still be in good time to arrange with the
Industrie-Kontor. Try and manage for us to come together
and remain together — on my side I will certainly do my best.
You will always find me frank, without any reserve even in
this connection — in short, everything may show you how
willingly I enter into connection with you.

Your most devoted,

L. von Beethoven.
[On the back of the envelope.]

I again ask you for a speedy answer.

I do not like to speak about my Mass, and least of all
about myself ; I, however, believe that I have treated the
text as it has hitherto been seldom treated ; further, it has
been given with much applause in several places, among others
at Eisenstadt, at Prince Esterhazi's on the name-day of the
Princess. I am fully persuaded that the full, and even the
piano, score, will be a source of profit to you.

[According to the original manuscript in the possession of the
B. and H. firm ; unpublished. The works here offered by Beet-
hoven are the C minor and Pastoral Symphonies. Both were
produced at the Theater an der Wien under Beethoven's direction on
December 22, 1808, and were published by Breitkopf and Haertel
in the following year ; also the proffered Mass in C (Op. 86) which
was issued by the same firm, in November 1812 (c/. Letter CXLI),
and, finally, the Sonata for piano and 'cello in A (Op. 69), which
appeared in 1809. Beethoven's statement, that his Mass was given
" with much applause " at Eisenstadt, deserves note. It is gene-
rally supposed that the Prince's comment on the work, " But, my
dear Beethoven, what have you been doing now ? " really indicated
that the composer had not given satisfaction. A person is men-
tioned at the opening of the letter, who for a long time was quite
unknown in connection with Beethoven's history, viz., Count
Schönfeld, the offspring of a family to which belonged the well-
known compiler of the " Jahrbuch für Tonkunst," Vienna, 1796.
The Schönfeld here mentioned must have been Count Joh. Heinrich
Ludwig von Schönfeld (1791-1828). At the time of this letter he
was about 17 years old.

[See Letter LXXL— Tb.]

XrpfÄ /»»» -'■-' <tfi >m

Beethoven (C. 1808.)

(Etching, from Th. von Frimmefs " Beethoven Studien." )

BEETHOVENS LETTERS 141

CLIV To the Same

[16th July, 1808]
Sirs,

Here is my decision in answer to your letter — and from
it you will certainly perceive my readiness to meet your
wishes so far as is possible. First of all the scheme, and then
the why and the wherefore. I give you the Mass, together
with the 2 Symphonies and the 'cello and piano Sonata, and
in addition, two other Sonatas for the piano, or instead of
these, perhaps another Symphony, all for 700 florins (seven
hundred florins in convention-coin). You see that I give
more and take less — but that is the lowest figure. You must
take the Mass, otherwise I cannot give you the other works —
for I am considering what brings honour, and not only what
is profitable. You say " there is no demand for church
music." You are quite right when it is composed by mere
thorough-bassists ; but only arrange for a performance of
the Mass at Leipzig, and see whether you will not at once
find amateurs who want to have it ; give it for my sake in
pianoforte score with German text. I will guarantee that
each time and always there will be success.

Perhaps even by subscription ; I am sure from here I
could procure for you a dozen or two dozen subscribers — but
that is certainly unnecessary. As soon as you have accepted,
as I fully expect, my proposal, you will receive the 2 Sym-
phonies, the Sonata with 'cello, the Ma-s, the two other piano-
forte Sonatas or perhaps instead of them a Symphony, at
latest four weeks after that. But I beg you at once on receipt
of the first 4 works to let me have the honorarium. I will also
enter in the schedule the Symphony, or in its place the 2
Sonatas which you are to receive from me ; and in writing,
so that you may have no misgiving, bind myself to send you
within 4 weeks the Sonatas or the Symphony. I beg you to send
me the 700 florins in a draft specifying 700 florins convention-
coin, or order it to be payable in bank-notes according to the
exchange on the day of receipt in Vienna. For the rest, I
undertake after a time to present you with an Offertory and
Gradual for the Mass ; for the moment, however, they are
not ready — but please let me know your decision as quickly
as possible. I cannot consent to any modifications. It is
the lowest I can manage, and I am convinced that you will
not repent the bargain. With high esteem.

Yours faithfully,

Ludwig von Beethoven.

142 BEETHOVENS LETTERS

[According to the original manuscript in the possession of the
B. and H. firm ; unpublished.]

CLV To the Same

[Written after the 16th July, 1808]
Sirs,

With regard to your repeated proposal through Wagener,
I answer that I am also ready fully to release you from what
concerns the Mass — so I make you a present of it, even
the costs of copying you will not have to pay ; for I am
firmly persuaded that if you only give a performance of it
at your winter concerts in Leipzig, you will certainly publish
it, and with a German text. Happen what may, it belongs
to you ; as soon as we have come to an agreement, I will send
you the score of it together with the other works, and will
also enter it in the schedule as if you had paid for it. The
reason why I particularly wanted to get you to publish this
Mass was, first of all because, in spite of all coldness at the
present day towards such works, I have it especially at heart ;
secondly, because I thought that by means of your type notes
for printed notes it would be easier for you than for other
German publishers, who for the most part know nothing
about scores.

Now for the rest : as the Mass is not included, you will
now receive two Symphonies, a Sonata with obbligato 'cello,
two Trios for piano, violin and 'cello (of which there is a
scarcity), or, instead of the last-named two T., a Symphony,
for 600 florins in convention-coin according to the exchange,
as I arranged in my first two letters to you. , As soon as
you accept, and of this I entertain no doubt, you could pay
in two instalments, viz. : as soon as I hand over to your
representative here in Vienna the two Symphonies and the
Sonata with 'cello obbligato, I receive a draft for 400 florins ;
a few weeks later I will hand over the two Trios, or at your
pleasure the Symphony, and then you could let me have the
remaining 200 florins by draft— so everything is free from doubt.
The score of the Mass, as soon as I get an answer, will be
copied and sent to you without fail in the second parcel.
I must be greatly mistaken if you still hesitate ; you must
surely see that I have done everything in my power to come
to terms with you. For the rest, you may rest assured that
for my compositions I receive here quite as much and even

BEETHOVEN S LETTERS 143

more ; it is, however, a fatal circumstance that a publisher
here does not pay at once, but very slowly. Here you have
the explanation of the matter, but I hope you are honourable
enough not to misuse my frankness. I see for the rest that
you are entering into an engagement with me of unusual
importance, and you will certainly often perceive that I am
disinterested. I have too great love for my art to be guided
entirely by interest ; but for the last two years I have
suffered many misfortunes, and here in V. — but no more
of this. Do answer at once, for I have waited all the
time for your sake. If you are under the impression that
I could not get the same terms here, you are mistaken ; there
is no other reason than the one given to you.
With high esteem,

Yours faithfully.

Ludwig von Beethoven.

[On the reverse side of the wrapper.]

To prevent any confusion, kindly address your answer to
Wagener, who quite understands how to forward the letter
to me, for I am in the country.

[According to the original manuscript in possession of the
B. and H. firm ; unpublished. It is wellnigh incredible to read of
the almost insuperable difficulties Beethoven had to overcome, even
in the year 1808 when he already enjoyed world-wide fame, in order to
dispose of a grand sacred work. From a letter which will be given
later on, it appears that B. and H. not only published the Mass in
C (Op. 86) but also — notwithstanding that Beethoven wished to
make them a present of it — paid him an honorarium for it. The
Mass first appeared in 1812 — after which Beethoven could see to
his great joy, that the firm was really entering into important
engagements with him, for among other great works there appeared
the Symphonies in C minor and F, the Egmont music and Fidelio,
&c. The Wagener here mentioned was probably an agent.]

CLVI [Summer 1808 ?]

Here, good friend, the letter to Winter. I say first of all
that you are my friend — in the second place, what you are,
viz., imperial royal draughtsman — and thirdly, that you are
no connoisseur of music, yet a lover of all that is beautiful
and good. In consideration of which I have begged the
capellmeister, should anything of his be performed, to give

144 BEETHOVENS LETTERS

you the opportunity of taking part in it. This is a hint to
show yourself on that account, somewhat zealous — it is good
policy, of which your friend has little understanding. It
may perhaps serve you for something else in Munich. And
now, dear friend, farewell — pleasant journey — and think
sometimes of me. Greetings to your good brother.

Your true friend,

Beethoven.

[According to Nohl. Friend Gleichenstein was going to his
home in Freiberg, i. Br., where he had a brother, a man of letters.
On his journey he was to pay a visit to Peter von Winter, opera
composer and conductor (b. 1755) in Munich. Like Beethoven,
he had studied with Salieri ; hence their mutual acquaintance and
friendship. From 1794 to 1796 several operas of Winter achieved
great success at Vienna, and among them his " Das unterbrochene
Opferfest." He died at Munich, October 18, 1825. (In a letter of
Beethoven's writing to Streicher he mentions a visit she paid him
" with Winter."— Tr.)]

CLVII To the Same

My dear Gleichenstein ! — I have not yet had time to
show you my delight at your arrival, or to see you — or to ex-
plain something which probably has struck you. It cannot,
however, do you any real harm, as another work is about to
appear, in which is rendered what is due to you — or to
our friendship. Please find out exactly what the ducat is now
worth. I will come to you in town to-morrow morning
about 7 or 7.30. Farewell,

As always,

Your friend,

Beethoven.

[According to Nohl. It has already been mentioned that the
pianoforte Concerto in G (Op. 58) was to have been dedicated to
Gleichenstein. But a change was made. The Concerto was
dedicated to the Archduke Rudolf, and the 'cello Sonata (Op. 69)
to Gleichenstein. (The original is in the British Museum. — Tr.)]

CLVIII To the Same

[Autumn 1808 ?]
Dear good Gleichenstein !

I really cannot help telling you of my anxiety with regard
to Breuning's spasmodic, feverish state, and at the same

BEETHOVENS LETTERS 145

time entreat you to do your very best to keep in closer
touch with him, or rather to get him to attach himself
more to you. My circumstances only allow me to fulfil in
small degree the high duties of friendship. I therefore beg,
entreat you in the name of the good, noble feeling which you
certainly possess, to relieve me of this anxiety which to me
is a real torture. It will be especially good if you can
persuade him to go out with you here or there (however
much he may incite you to diligence), and try to restrain
him from his excessive, and, to my thinking, not always
necessary work. You can scarcely believe in what an over-
wrought state I have already found him — you will have heard
of his yesterday's worry — all caused by his terrible ex-
citability, which, if he cannot prevent it, will surely be the
ruin of him.

I therefore lay on you, my dear Gleichenstein, this charge
concerning one of my best, most trustworthy friends, and
all the more, seeing that your occupations will establish a
kind of tie between both of you ; and you will be able to
strengthen this by often making him perceive how anxious
you are for his welfare ; and this will be all the easier as he
really likes you. But your noble heart, so well known to me,
needs no directions in this matter — so act for me and for
your good Breuning. With hearty greetings,

Beethoven.

[According to Nohl. The great quarrel between Beethoven and
Stephan von Breuning had long been settled {see Letter XCIV), yet
small misunderstandings were not unfrequent. Stephan, for
instance, writes to Dr. Wegeler, his brother-in-law, under date
January 10, 1809, " I have not seen Beethoven for over three
months, and although he writes me in a friendly tone, for some
reason unknown to me, no longer comes to see me."]

CLIX To ZMESKALL VON DOMANOVECZ

[Summer 1808]

To be delivered to Herr Ludwig van Beethoven in Baden,
at the Sauerbad, who is still here, and cannot help being
occupied with some Degen soarings. Gratias in anticipation
and also afterwards agimus tibi — Zmeskalio domanovetzensi.

[According to the original manuscript in the Vienna court
library. Strictly speaking it is only a postscript, but it is preserved

146 BEETHOVENS LETTERS

in this library as an independent manuscript. I shall refer later
on to the letter to Zmeskall with which it is connected. The
"Degen soarings" to which, during his stay at Baden this
summer, the composer paid homage, refer to the ascents made
by the aeronaut Jakob Degen, which then caused great excite-
ment. Degen, born at Basle in 1756, came at ten years of
age to Vienna. As watchmaker, he invented a flying-machine,
with which from 1808, he made ascents in Vienna. In 1820 he
invented mackle type for bonds, in consequence of which he became
an official of the national bank. He died, aged 92, in 1848.

CLX To COUNT FRANZ V. OPPERSDORF, Vienna

November 1, 1088 ( = 1808).
Best Count !

You will judge me in a false light, but necessity compels
me to sell the symphony which was written for you, and
still another one, to some one else. But rest assured that
you will soon receive the one intended for you. I hope that
you still continue in good health, and also your good
lady, to whom please give my kindest regards. I am living-
just below Prince Lichnowsky, at Countess Erdödy's, if you
should happen to honour me with a visit here in Vienna.
My affairs are improving, without the help of people
who treat their friends to flails. I have also received
a call as capellmeister to the King of Westphalia, which
very probably I shall accept.

Farewell, and think sometimes of,

Yours truly,

Beethoven.

[According to Adolf Bernhard Marx's " Ludwig van Beethoven's.
Leben und Schaffen" (2nd edition, 1863), reproduced by him from
the original. The owner was not named. Concerning Count
Oppersdorf Dr. Deiters in the Thayer Biography gave many
desirable explanations. The Count who died at Berlin in 1818
was in active correspondence with the magnates Lobkowitz and
Lichnowsky. The Count's castle lay close to the Ober-Glogau,
from which Prince Lichnowsky's castle was scarcely a day's journey
distant. Dr. Deiters learnt further from his trustworthy informant,
that the Prince together with Beethoven paid a visit to Count
Oppersdorf, on which occasion the musical Count's orchestra per-
formed in presence of the composer his 2nd Symphony. See
Letter CX.

The words, " without the help of people," &c., refer to the

BEETHOVENS LETTERS 147

unfortunate scene at Prince Lichnowsky's castle at Graz when an
attempt was made to compel Beethoven to play to the French
guests. We here have, for the first time, the important news
respecting the call to Westphalia. The 4th Symphony (Op. 60),
published at the Industrie-Kontor, March 1809, was dedicated to
Count Oppersdorf.]

CLXI To GLEICHENSTEIN (?)

[1808]

For to-day it would probably be too late — I have not
been able to receive back your document from E. until now,
because H. still wished to add some items, some buts, and
some meanwhiles. I beg you to let everything relate to the
true and becoming exercise of my art, then you will do what is
most in keeping with my heart and head. The introduction
is, what I have at Westphalia, 600 ducats in gold, with 150
ducats travelling money, and for that I have only to conduct
the concerts of the King, which are short and, indeed, not
frequent — I am not even bound to conduct any opera which
I write — from all which it is clear that I can devote myself
to the most important aim of my art, namely, to write
great works. Also an orchestra at my disposal.

N.B. — The title as a member of the theatre committee to
be left out — it can only bring worry — With regard to the
Imperial service, I think this point must be delicately
handled — and not less so the request for the title of Imperial
Capellmeister, but only, in regard to it, to be for once,
through a salary from the Court, in a position to give up
the sum which the gentlemen now pay me. So I believe
that this will be best expressed by, that I hope, and that it
is my most ardent wish, after all, to enter into the Imperial
service ; that I will at once (renounce) accept so much less,
namely, than the sum which I shall receive from His Imperial
Majesty.

N.B. — To-morrow we shall want it about 12 o'clock, because
we must then go to Kynsky. I hope to see you to-day.

[This letter, without address and without date, was first pub-
lished by Nohl from Baron Prokesch-Osten's autograph collec-
tion at Gmiinden, 1865. The letter refers to Beethoven's call
to Cassel. Among the intimate friends at this period, next to
Gleichenstein, was Stephan von Breuning, who, however, held
second place in Beethoven's heart ; Gleichenstein was therefore
most probably the person to whom this letter was sent. The E.

148 BEETHOVEN'S LETTERS

may stand for Excellency, or even Esel (donkey). The letter also
shows the excitement which this Cassel invitation caused among
persons of high rank. Prince Kinsky was one of the three patrons
who actually in the following year began to give the pension to
Beethoven.]

CLXII To the Tenor Singer, ROECKEL

[December 1808]

Here, my dear friend, I make you the small present of an
English dictionary. With regard to the vocal pieces, I
think there ought to be first an aria sung by one of the lady
vocalists who sing for us — then we shall have two numbers
from the Mass, but with German text. Make inquiry for
some one who would do this for us. It need not be a master-
piece, if only it fits the music.

Yours always,

Beethoven.

[From the original, formerly (1879 ?) in RoeckePs possession. It
was first published by Thayer (III. 55). The person to whom this
and the following letter are addressed was the tenor singer Roeckel,
who impersonated " Florestan " at the rivival of Fidelio in 1806.
The two letters concern the preparation for the concert given by
Beethoven on December 22, 1808, in the theatre " an der
Wien." With the exception of the concert in 1824, at which was
performed, for the first time, the Ninth Symphony, together with
the chief portions of the Missa Solemnis, there is no event in the
history of Beethoven of greater importance than the concert in
question. As the matter is one of historical interest, the pro-
gramme shall be given.

First part : (1) A Symphony in F (No. 5) under the title : Re-
colletions of Country Life. (2) Aria. (3) Hymn with Latin text,
written in ecclesiastical style with chorus and solos ; and (4) a
piano Concerto (No. 4 in G) played by himself. Second part :
(1) Grand Symphony in C minor (No. 6). (2) Sanctus, with Latin
text, written in ecclesiastical style with chorus and solos. (3) Im-
provisation on the pianoforte. (4) Fantasia for chorus and orchestra
(Op. 80) . The concert lasted, according to Reichardt, fully four hours.
On this evening Beethoven appeared before the public not only as
a composer, but also as conductor, pianist and improvisor. Friend
Roeckel was not only to see about a good singer (of which more in
the next letter), but he had also to find a poet who would provide
the German text. What induced Beethoven to have German
words ? It was because the censorship forbade Latin words from
an ecclesiastical text to be printed on the handbill, but there was

BEETHOVENS LETTERS 149

no objection to the compositions being sung with Latin text at the
theatre. Beethoven was not sure whether his concert would take
place in the theatre, hence had to be ready with some one to trans-
late the Latin text.]

CLXIII To the Same

[December 1808]
Dear Roeckel,

Manage the affair cleverly with Milder. Only tell her
that you really come in my name, and in advance beg her
not to sing anywhere else. But to-morrow I will come
myself, in order to kiss the hem of her garment. Also pray
do not forget Marconi, and do not be angry with me for
giving you so much trouble,

Yours always,

Beethoven.

[According to Wegeler and Ries. This letter is ascribed by Ries
to the year of the revival of Fidelio, 1806. It belongs, however,
to the matter of the concert of December 22, 1808. Milder,
after all, did not sing the aria intended for her, owing to a dispute
between Beethoven and Hauptmann who afterwards became her
husband. Josephine Killitscky, Schuppanzigh's sister-in-law, took
her place, and sang, " Ah, perfido ! " Nanette Marconi, after-
wards Frau Schönberger, whom Beethoven also had in mind, was
a distinguished contralto singer from Mannheim. Ferdinand
Ries gives a description of the performance of the Fantasia for
chorus and orchestra. " In the last (that is to say, the Fantasia)
the clarionet player by mistake took a repeat of eight bars. As
only a few instruments were playing, the effect was all the more
irritating. Beethoven sprang up in a rage, turned round, and in the
coarsest way abused all the members of the orchestra, and in such
a loud tone that the whole audience heard rum. Finally he shouted :
' From the beginning ! ' The theme began again, everything was
now right, and the success was brilliant." The scene has been
related by others. See Beethoven's own account of it in the
following letter.]

CLXIV To BREITKOPF and HAERTEL, Leipzig

Vienna, 7th January, 1809.

You will say it is this and that, and that and this — it is
true there cannot be a stranger letter writer — but you have
received the terzets. One was already finished when you
went away, but I wished only to send it wdth the second ;

150 BEETHOVENS LETTERS

this latter has also been ready for the last few months
without my even thinking of sending it to you — finally, the
C[opyist] bothered me about it. You will show me a very
great kindness, and I earnestly beg you to do so, if you do
not publish before Easter all the things you have of mine,
for I certainly shall be with you during Lent. Also, until then,
let none of the new symphonies be heard, for I am coming to
Leipzic, so it will be a real festival to perform these
with the, to me, well-known honesty and good-will of
the musicians at Leipzic — and when there I will at once
see to the correcting.

Finally, I am compelled through intrigues, cabals, and
low tricks of all kinds to leave the only German Vaterland.
I am going at the invitation of his Majesty the King of
Westphalia as his Capellmeister with a yearly pay of 600
ducats in gold. I have sent off by post my acceptance,
and I am now awaiting my decree so as to make pre-
parations for the journey, when I shall pass through
Leipzic. In order that the journey may be the more brilliant
for me, I beg you, if not too disadvantageous to you, not to
make known any of my compositions before Easter. With
regard to the Sonata dedicated to Baron Gleichenstein,
please leave out the Imperial Royal draughtsman, for he
does not like anything of that sort. There will probably
be some abusive articles in the Musikalische Zeitung with
regard to my last concert. I certainly do not wish every-
thing that is against me to be suppressed, but people should
know that no one has more personal enemies here than
myself ; and this is all the easier to understand, seeing
that the state of music here is ever becoming worse. We
have conductors who understand as little about conducting
as about conducting themselves — at the Wieden it is really
at its worst — I had to give my concert there, and on all
sides difficulties were placed in my way. There was a
horrid trick played in connection with the Widows' concert,
out of hatred to me, for Herr Salieri threatened to expel any
musician belonging to their company who played for me ;
but in spite of several faults which I could not prevent, the
public received everything most enthusiastically. Never-
theless, scribblers will not fail to write wretched stuff against
me in the Musikalische Zeitung. The musicians were
specially in a rage that through carelessness mistakes arose
in the simplest, plainest piece. I suddenly bade them stop,
and called out in a loud voice, begin again. Such a thing

BEETHOVENS LETTERS 151

had never happened there before ; the public testified its
pleasure. Things become worse every day. The day
before my concert, the orchestra in the theatre in the town
got into such a muddle in the little easy opera, Milton, that
conductor and director and orchestra came to grief — for the
conductor, instead of giving the beat beforehand, gave it
afterwards, and then only the director appears on the scene.
Answer at once, my good friend,
With esteem,

Your most devoted servant,

Beethoven.
[On the reverse side of the cover.]

I beg you to say nothing definite in public about my
appointment at Westphalia until I write to you that I have
received my decree. Farewell, and write to me soon. At
Leipzic we will talk about my works. Some hints might be
given in the Musikalische Zeitung about my going away
from here — also a few stabs, since no one here has been
really willing to help me.

(Address.) To Breitkopf and Hartel, Leipzic.

[From the original manuscript in the possession of the B. and H.
firm. In this letter we have from Beethoven himself a most
lively account of the concert in which, to a partly enthu-
siastic, partly puzzled world, the Symphony in C minor was pro-
duced together with other great works. We shall have more to
say about this concert, but the best, after all, will remain what we
here gather from the composer's own mouth. For the rest, the
letter shows the composer's proud satisfaction concerning his call
to the Westphalian Court. Now only did independent friends of
the composer become truly alive to the might and importance of
his genius, and proper steps were being taken to keep him. Also
the description which Beethoven gives of the Vienna orchestras,
especially the one at the " An der Wien," is not exaggerated.
Contemporary writers have expressed themselves in the same
way ; what, however, is new, is the declaration that Salieri pursued
Beethoven with his hatred. The new Trios which were published
by Breitkopf and Haertel are here curiously named terzets, a
term generally used only for vocal compositions.

CLXV To COUNT ZMESKALL-DOMANOVECZ

[about January 1809]

Cursedly invited Domanowetz — not a musical Count, but
an eating Count, dinner Count, supper Count, &c. To-day,

152 BEETHOVENS LEITERS

at half-past 10 or 10 o'clock, will the quartet be rehearsed
at the house of Lobkowitz ; His Serene Highness, usually
absent-minded, is not yet there — you come too, if you can
escape from the prison ward at the Chancery. To-day,
Herzog, who is to be my servant, will come to you. Settle
with him and his obbligato wife, for 30 florins — wood, light,
small livery. I must have some one to cook ; so long as I
have such bad food I shall always be ill. I am dining at
home to-day for the sake of the better wine ; if you will
order what you wish to have, I shall be glad if you will also
come to me. You will have the wine gratis, and far better
than at the rascally " Swan."

Your small Beethoven.

[From the original manuscript in the Royal Library at Vienna,
first published by Nohl. The servant matters are now beginning
again.]

CLXVI To the Same

[About the same time, 1809]

Here comes Herzog together with his wife. Hear from
them how condescending they are willing to be — she must
cook when I want it, also darn, &c. — for this is a highly
important matter. I will afterwards come to you and hear
the result. Would not the best thing be to ask them what
they are willing to do for me ?

[From the original manuscript in the Royal Library, Vienna.]

CLXVII To GLEICHENSTEIN

[Sketch of a Musical Constitution]

[1st quarter, 1809]

First, the offer from the King of Westphalia is to be
written out.

B. cannot be tied down to any conditions concerning this
salary, since the principal aim of his art, namely, the writing
of new works, would suffer by it. This pay must be
assured to B. so long as the same of his own free will does
not renounce it. The Imperial title also, if possible, to
alternate with Salieri and Eibeler — the promise of the
Court to let me enter as soon as possible into actual service
of the Court — or adjunction, if it is worth the trouble.

BEETHOVENS LETTERS 153

Contract with the theatres, likewise with the title of a
member of the committee of the theatre direction — a fixed
day every year for a concert, even though the management
change, in the theatre ; Beethoven, on the other hand, to
bind himself to write a new work every year for a concert
for the poor whenever it may be most profitable — or to con-
duct two of them — a place at a money-changer's or something
of the kind, where Beethoven can receive the stipulated
salary. The salary must be binding on the heirs.

[According to Nohl. Already in 1788 Antonio Salieri received
the title and rank of Court conductor. He was Beethoven's
teacher in dramatic composition, and his pupil dedicated to him
the three violin sonatas, Op. 12. The church composer, Joseph
von Eybler (1765-1846) was an intimate friend of Mozart's ; in
1804 he became Court Vice-Capellmeister and after Salieri's death
in 1825, principal Court Capellmeister. Beethoven never suc-
ceeded in becoming Court Capellmeister — fortunately for him he
had not the necessary qualifications.]

CLXVIII To BREITKOPF and HAERTEL, Leipzig

Vienna, Mh March, 1809.
Honoured Sirs,

From the enclosed you will see how matters have changed,
and I stay here— although, perhaps, I may still take a
little journey, if the storm-clouds now threatening do not
pass away — but you will get news in good time. Here are
the opus numbers, &c, of the three works : Sonata for
pianoforte and 'cello, to Baron von Gleichenstein, Op. 59.
Both symphonies to be dedicated at the same time to the two
gentlemen, namely, to His Excellency Count Rasoumowsky
and to His Serene Highness Prince Lobkowitz — Sonata in C
minor, Op. 60, Symphony in F, Op. 61. You will receive
to-morrow a list of small improvements which I made during
the performance of the symphonies — when I gave them to
you I had not heard a note of either. One must not pretend
to be so divine as not to make improvements here and
there in one's creations. Herr Stein offers to you to transcribe
the Symphonies for two pianofortes ; write to me whether
you wish that, or whether you wish and are willing to pay.

My best regards to you, and I am in haste,

Your most devoted friend,

L. van Beethoven.

154 BEETHOVENS LETTERS

The Trios will be dedicated to :
[In a strange hand.]

A Madame la Comtesse Marie d'Erdödy nie Comtesse
Niczky Dame de la Croix (in Beethoven's hand), Op. 62.

[According to the original manuscript in the possession of Pro-
fessor W. Cart at Lausanne. The letter was formerly in the
possession of the senator Dr. Gwinner at Frankfort, from which
Nohl first published it. The three works named here received
when published, other opus numbers. The 'cello Sonata in A, dedi-
cated to Baron Gleichenstein, was marked, not 59 but 69, while
the two Symphonies, which were composed pretty nearly about
the same time, were numbered, not 60 and 61, but 67 and 68.
Stein was Nanette Streicher's brother Friedrich, an able young
pianist, who died at an early age. The Trios dedicated to the
Countess Erdödy received the Opus number 70. The " enclosed "
gave the contents of the decree by which, in return for a fixed
annuity, Beethoven was to remain in Austria.]

CLXIX To BARON GLEICHENSTEIN

[1st quarter, 1809]

My dear fellow, your friend Freeh let Breuning last year
have some wood which is cheaper. Be kind enough and speak
to his Boldness * in my name and ask him kindly to let me
have some cords. Countess E. is very ill, otherwise I
would have invited you.

[According to Nohl.]

CLXX To the Same

[1st quarter, 1809]

Rake of a Baron — in vain I waited for you yesterday — do
please let me know whether the wood is coming to me through
his Boldness, or not. I have received a fine offer to be
Capellmeister to the King of Westphalia — I shall get good
pay — I have only to say hozv many ducats I want, &c. I
would like to talk the matter over with you. Cannot
you come this afternoon about half-past three — this morning
I must go out ?

[According to Nohl.]

* Frechheit (boldness) has as first syllable the friend's name. One of
Beethoven's many plays upon words. — Te.

BEETHOVENS LETTERS 155

CLXXI To the Same

[1st quarter, 1809]

Countess Erdödy thinks that you ought to sketch out a
plan with her according to which you can act, if you, as she
thinks certain, are approached in the matter,

Your friend,

Ludwig Beethoven.

P.S. — If you have the time this afternoon, the Countess
will be pleased to see you.

[According to Nohl. His faithful friend, Countess Erdödy, is
also anxious to help in preventing Beethoven from leaving Vienna.]

CLXXII To the Same

[1st quarter, 1809]

If the gentlemen consider themselves co-authors of every
new important work, that would be the point of view from
which I should principally wish to be considered, and then
there would be an end of my seeming to receive pay for
nothing.

[According to Nohl.]

CLXXIII To Dr. DORNER

[1st quarter, 1809]

Be so kind, dear D., and send summary of contents of the
decree to Gleichenstein — if you have time, come and see me.
I shall be very glad if we sometimes see each other.

[According to Nohl. Dr. Dorner was doctor and physician to
Count Cobenzl, probably the Count who died at Vienna in 1810,
whereas his uncle, Johann Philipp von Cobenzl, died already in
February 1809.]

CLXXIV To J. VON GLEICHENSTEIN

[March 1809]

You see, my dear Gleichenstein, from the enclosed, how
honourable my remaining here has become for me. The title of
Imperial Capellmeister will follow, &c. Write to me as soon
as you can, and say whether you think that I could travel
in the present warlike circumstances, and whether you are

156 BEETHOVENS LETTERS

still firmly resolved to travel with me. Many dissuade
me from it, but I will follow you entirely in the matter ; so
that you and I may come to some arrangement — write
quickly. Now you can help me to look out for a wife.
If you find a beautiful one in F. who perhaps may bestow
a sigh on my harmonies, but it must be no Elise Bürger,
at once tackle her — but she must be beautiful, for I cannot
love anything that is not beautiful — otherwise I should
love myself. Farewell, and write soon. Remember me to
your parents, to your brother,

I heartily embrace you, and am,
Your true friend,

Beethoven.

[According to the original manuscript in the Beethoven House
at Bonn. First printed by Nohl. The warlike circumstances are
clear. Napoleon was marching towards Vienna. Beethoven did
not want to have a wife like Elise Bürger, the third wife of the
poet, who offered her hand to him. She was born at Stuttgart in
1769 and died at Frankfort in 1833. She was twenty years old
when she proposed to the poet in a poem. After a long corre-
spondence Bürger actually married his " Swabian maiden " in the
autumn of 1790. It was an unhappy marriage ; there was a legal
separation after two years.]

CLXXV To N. VON ZMESKALL

[7th March, 1809]

I thought so. As to the blows, it is only a made-up story,
and at least three months old — the actual fact is very different
from what he now makes of it. The whole wretched story
was cooked up by a huckster woman and a few other wretched
creatures. I do not lose much, because he is really spoilt
through the people in this house where I am.

[According to the original manuscript in the Royal Library at
Vienna. First printed by Nohl. It is again a question about
servants, even now, when the master is living in the house of
Countess Erdody. Beethoven did not like the Countess influencing
the servants, which she appears to have done.]

CLXXVI To the Same

[March 1809]

It seems to me, my dear Z., probable that after the war*
if it really should begin, you will prepare for negotations of

BEETHOVENS LETTERS 157

peace — what a glorious office. I leave it entirely to you to
arrange with my servant, only the Countess Erdödy must
not exercise the least influence over him. She says that she
has made him a present of twenty-five florins and given him
five florins per month only in order that he may remain with
me. I must now believe in this magnanimity, but I do not
want things of that sort to continue. Take care of yourself,
I thank you for your friendship and hope soon to see you,

Yours always

Beethoven.

[According to the original manuscript in the Vienna Library.
From the remarks in the former letter, the contents are perfectly
clear.]

CLXXVII To the COUNTESS MARIE VON

ERDÖDY

[Spring 1809]

My dear Countess, I have erred, I confess it, forgive me ;
it was certainly not intentional badness on my part, if I
have caused you pain. Only since yesterday evening do I
really know what happened, and I am extremely sorry that
I acted thus. Read your note calmly, and judge yourself
whether I have deserved it, and whether you have not
punished me sixfold, for I offended you without meaning to
do so. Send me back my note to-day, and write just one
word that you are again good friends. It will cause me no
end of pain, if you will not do this ; I can do nothing, if
things are to continue thus. I await your forgiveness.

[According to Jahn's copy. The relationship between Countess
Erdödy, nee Countess Niszky, and Beethoven is so important in the
history of the composer's life, that a few words about the fate of
these letters appear imperative. Jahn took copies of ten letters
to the Countess, and seven notes to her music teacher and Magister
Brauchle. L. Nohl learnt at Munich, where the Countess died in
1837, that she bequeathed a number of letters from Beethoven to
herself to Brauchle's widow, the latter informing Nohl that she had
burnt them. O. Jahn, however, and long before, had taken
copies of these letters, with exception of one which she presented
to Ignaz Lachner in Frankfort- on-Main. All the other letters of the
group were given by Jahn to the young scholar, Dr. Alfred Schöne,
for publication, and on the occasion of the silver wedding of Dr.
Moritz Hauptmann, in 1867, they were actually published by B.
and H. Countess Anna Maria von Niszky, born about 1779,
married, already about 1795, Count Peter von Erdödy (at Mon-

158 BEETHOVENS LETTERS

yorokerek). After the rupture with Giulietta Guicciardi, Beethoven,
according to Schindler, sought and found consolation in the
society of the Countess. Reichardt gives a fascinating account of
her and of her devotion to music. The above letter is the first one we
possess up to 1809, and there was none between that year and 1815.
In his " Vetraute Briefe " (December 5, 1808) he writes : I received
a very friendly, warm-hearted note from Beethoven, whom I had
missed seeing, inviting me to another pleasant dinner at Countess
Erdödy's, a Hungarian lady. Intense excitement almost spoilt
the joy I felt. Imagine a very handsome, small, refined person
five-and-twenty years old, who was married in her fifteenth year.
Immediately after her first confinement she contracted an incurable
malady, so that for ten years, with exception of two or perhaps
three months, she had been bed-ridden. Yet she gave birth to
three dear, healthy children who clung to her like tree-creepers.
Music is her sole enjoyment ; she plays Beethoven's compositions
extremely well, and with swollen feet limps from one pianoforte
to another, but, for all that, cheerful and friendly — frequently I
felt melancholy during, for the rest, the right joyous meal in
company of from six to eight kind, musical souls.

CLXXVIII To BREITKOPF and HAERTEL

in Leipzig

March 28, 1809.
Highly honoured Sir,

Herewith you receive the pianoforte improvements in the
symphonies. Have the plates corrected at once. The title of
the Symphony in F is : Pastoral Symphony, or Reminiscence
of Country Life, expression of feeling rather than painting.
Notice besides, that in the Andante of the same symp. there
must still be marked in the bass part, right at the beginning :
due Violoncelli Solo Imo e 2do con Sordino ma gli Violoncelli
tutti coi Bassi.

You said you had found still a mistake in the third
movement of the Symphony in C minor — I do not remember
of what kind — the best is always to send me the score back
with the proofs ; in a few days everything would be sent
back. With the Trios and Cello Sonata I should like the
same thing to be done. If the title of the Cello Sonata is
not printed it can still stand to my friend the Baron, &c.
So far as I know I have only sent two trios. There must
be some mistake here. Has Wagner, perhaps, been playing
some joke, and added a third of his own invention or of

BEETHOVENS LETTERS

159

some one else's? In order to avoid any mistake, I here
set down the themes of the movements.

1st movement.

-:$#4

A llegro.

• m

etc.

2nd movement,

■i

Adagio.

cello. I

cemb.

3rd movement.

1st movement.

2nd Trio in E£.
Adagio.

cmb.

t^P?

Yiole. * -*- ^
Allegretto.

etc.

Vno.
tr

2nd movement.

y ' 0 .

m *

-K-

— r"H

— i — i—

W mILr~

5-J

-\-m —

«. *

— » —

■ # *

t4 — i^-i —

-gss —

etc.

3rd movement,

■p

^5t

1 ! 1

4<A movement.

qqq -s^

-*•»-

±fc

In ray next I will answer the other points in your letter
With kindest regards.

In haste,

Yours truly,

Beethoven.

[According to the original manuscript in the possession of B.
and H. This letter is not even printed as manuscript ; it is quite
new. The letter concerns corrections for the 5th and 6th Sym-
phonies. Later on, reference will be made to an error in the Scherzo
of the C minor Symphony, which has acquired amazing importance
in the history of that work.]

160 BEETHOVENS LETTERS

CLXXIX To Brother JOHANN VAN BEETHOVEN

in Linz

[March 28, 1809]
Dear Brother,

The letter for you has been lying here for a long time.
If God would only, for once, bestow on my other brother,
instead of his coldness — sympathy. I surfer terribly through
him, yet with my bad hearing I do want some one, and in
whom can I confide ?
Vienna, March 28, 1809.

[According to the original which, in 1865, was in the possession of
F. W. Jahn. It was a mere wrapper, inside of which stood these
words. On the wrapper was written, " To be delivered at the
apothecary's shop at the Golden Crown." Beethoven must have seen
that he could no longer transact business through his otherwise
unsympathetic brother ; an end must be put to it. Hence this
ejaculation to the other brother Johann, who about this time had
settled at Linz as apothecary.]

CLXXX To BREITKOPF and HAERTEL in Leipzig

Vienna, April 5, '09.
High honoured Sir,

I was pleased to receive your letter. I thank you for the
article in the M.Z., and only hope that when an opportunity
presents itself, you will correct what concerns R. I was
not in any way engaged by him ; on the contrary, Count
Truchsess-Waldburg, chief chamberlain to His Majesty the
King of Westphalia, made me the offer of becoming chief
Capellmeister to His M. of Westphalia, even before Reichardt
was in Vienna. The latter himself was surprised, so he
said, that nothing of all this had come to his ears. R. did
his very best to dissuade me from going there. As, indeed,
I have very good grounds to call in question the character
of HerrR., and he himself may have communicated something
to you for various political reasons, I therefore think that
in any case I am more deserving of credit, also that at the
very next opportunity, and that is easily found — there is
no need for any pompous revocation, yet truth must be
brought to light — the actual fact should be inserted for
truth's sake. For my honour this is of importance. By
next post I send you all three works — the oratorio, opera,

BEETHOVENS LETTERS 16L

Mass — and all I ask for them is 250 fl., convention-coin,
I do not think that you will complain of this amount. I
cannot for the moment find the letter in which Simrock
also was willing to give me for the Mass 100 fl. in convention-
money ; and even here I could have got even higher terms
from the Chemical Printing Works. I am not in any way
boasting, that you know. I, however, send you all three
works, because I am convinced that you will not let me be
a loser thereby. Make out the titles to your liking in French.
Next time you will again receive a few lines about the other
matter — to-day it is not possible.

Your most devoted friend and servant.

Please do not forget to address me as chief capell-
meister. I laugh at such things, but there are Miserabiles,
who know how, after the manner of cooks, to serve up such
things.

[According to the original manuscript in the possession of the
B. and H. firm. This letter gives further information about the
proceedings with regard to Westphalia. Whether Reichardt, for
political reasons, mixed himself up in the matter, cannot be said ;
anyhow, he often was engaged in politics ; and in such matters
the two brothers in Apollo were fairly well akin. The Leipzig
Allg. Mus. Ztg., actually inserted in their number of March 3, 1809,
the following : " Beethoven received the call to Cassel through
Count Truchsess- Waldburg, royal Westphalian chief chamberlain,
as chief Capellmeister ."]

CLXXXI To BARON VON ZMESKALL

[Spring 1809]

Here the answer from S. I am sorry about Kraft. I
propose that Ertmann play with him the 'cello Sonata in
A, which has not yet been well performed in public. For
the rest, in order to steer clear of the wicked slander of
my friends, the terzet will be rehearsed before Kraft's
concert.

Yours truly,

Beethoven.

[According to the original manuscript in the Court Library,
Vienna. This and further notes concern concerts in which Schup-
panzigh (here S.), the cellist Kraft, Baroness Ertmann, and others
took part. The 'cello Sonata was probably the one in A (Op. 69),
the Terzet (!) one of the Trios (Op. 70).]

I L

162 BEETHOVENS LETTERS

CLXXXII To BARON VON ZMESKALL

[1809]

In haste. I am coming to the Swan, from there we can
undergo the visit of this plaguy woman.

Beethoven.

[Written in pencil. According to the original manuscript
of the Vienna Court Library ; in Nohl (Neue Briefe, 45).]

CLXXXIII To the Same

[16th April, 1809]

If I do not come, dear Z., and this is very likely, please
ask the Baroness du Laudon to let you have the pianoforte
part of the terzets, and afterwards have the kindness to
send them to me still to-day with the other parts,

In haste,

Beethvn.

[According to the original manuscript of the Imperial Court
Library, Vienna ; first printed by Nohl. It is not known who
the Baroness du Laudon was.]

CLXXXIV To the Same

[1809]

Dear Z., I beg you for some pens, but cut a little finer and
less yielding.

[According to the original manuscript of the Imperial Court
Library, Vienna.]

CLXXXV To the Same

[14>th April, 1809]
Dear old Music Count !

I really believe it would be better if you let old Kraft play
as it is indeed the first time that the Terzets will be per-
formed before company — afterwards you will, of course,
be able to play them. I, however, leave you free to act as
you wish. If you find difficulties in the matter, for it
might perhaps happen that Kraft and S. will not harmonise
together ; then, anyhow, Herr von Z. may distinguish him-
self, not as a music Count, but as an able musician.

Your friend,

Beethoven.

BEETHOVENS LETTERS 163

[According to the original manuscript in the Vienna Court
Library. Kraft and Schuppanzigh both gave evenings of chamber
music]

CLXXXVI To the Same

[17th April, 1809]
Dear Z.,

Suitable rooms have just been found for me — but I want
some one to help me in the matter. I cannot ask my brother,
because he is always in favour of what is cheapest. Tell me
also when we could go together to see these rooms to-day —
they are in the Klepperstall.

[According to the original manuscript in the Vienna Court
Library. In matters concerning servants and rooms, friend
Zmeskall is now always ready to help.]

CLXXXVII To the Same

[25th April, 1809]

I play willingly — most willingly — here is the 'cello part.
Do you feel inclined to it — if so, play it, otherwise let old
Kraft play it. We will speak about the rooms when we
meet.

Your friend,

Beethoven.

[According to the original manuscript in the Vienna Court
Library. The " old Kraft " here mentioned was the 'cellist Anton
Kraft, born 1751, died 1820. His son and pupil, Nicolaus Kraft,
was born in 1778.]

CLXXXVIII To the Same

[Spring 1809]

It does not suit me to see the woman again, and although
she may be somewhat better than he is, I wish to know as
little about her as about him. Hence I send to you the
required 24 n\, kindly add to it the 30 kr., take my stamped
paper of 15 kr. and make the servant write on the same that
he has received these 24 ft., 30 kr., for boot and livery money.
I will tell you more by word of mouth, how abominably
she recently lied to you. I wish, meanwhile, that you would
show the respect which, as a friend of mine, you owe to
yourself. Tell them that you have only induced me still to

164 BEETHOVEN'S LETTERS

give this ; for the rest, do not trouble unnecessarily about
them, for neither of them is worthy of your intercession.
I did not wish to take her husband back again, but partly
circumstances necessitated it ; I wanted a servant, and a
housekeeper and man-servant cost too much. Besides, I
found her several times with her husband below at the
clockmaker's in my house, she even wanted to go out with
him ; but as I wanted her, I let him come back, since, for
the sake of the rooms I was forced to keep her ; had I not
taken him I should only have been the more swindled.
That is how the matter stands, both are good for nothing
creatures.

Farewell,

I'll see you soon,

Your friend,

Beethoven.

[According to the copy in Jahn's Beethoven's Papers. We have
here another doleful letter re servants.]

CLXXXIX To the Same

[Spring 1809 ?]

Kraft has luckily offered to play with us to-day ; it would
have been unseemly not to have accepted this, and I myself
do not deny, neither, certainly, will you, that his playing
affords us all the greatest pleasure. Ask Michalcovitch to
come to you this evening, for we shall probably want him ;
I will fetch him about 6*30, also you, if you care to go with
us. I also ask for your desk and viola,

Yours,

Beethoven.

[At the back of this letter is written with lead pencil : "Make
sure in any case of Mialcovitz, we want him, I also beg you to
come, I will fetch you." I did not find this letter either in the
Vienna Court Library or among the Jahn copies ; Thayer, however
(III. 113), appears to have used a copy of Jahn's. Johann von
Mihalcovics was, like Zmeskall, a musical Royal Imperial draftsman.]

BEETHOVENS LETTERS 165

CXC To COUNT FRANZ VON BRUNSWICK

[Spring 1809?]
Dear Friend ! Brother !

I ought to have written to you before now, in my heart I
have already done so a thousand times. You ought to
have received the T. and the S. much sooner ; I cannot under-
stand how R. kept these back so long. So far as I can
remember, I certainly told you that I would send to you
both Sonata and Trio. Do as you like, keep the Sonata or
send it to Forray. The Quartet was really intended for you
long ago, only my disorder was the cause that you only just
receive it on this occasion — and speaking of disorder, I
must unfortunately confess to you that it haunts me every-
where. Nothing has been decided about my affairs ; the
unfortunate war will probably cause a further delay of the
final end, or my affairs may get into a worse plight. I first
resolve upon this, then upon that ; unfortunately, I must
remain hereabouts until this matter is settled. Oh, un-
fortunate decree, seductive as a Siren ; I ought, like Ulysses,
to have stopped my ears with wax, resolved not to sign any-
thing. If the waves of war should roll nearer, I will come
to Hungary, perhaps, if I have really nothing beyond my
own miserable self to care for ; I shall probably fight my
way through ; it will be all up with nobler plans ! Endless
our striving, vulgarity, in the long run, puts an end to
everything ! Farewell, dear Brother, be one to me ; I
have no one whom I could thus name ; do as much good
around you as the bad times permit. In future, put the
following on the cover of your letters to me : To Herr B. v.
Pasqualati. The rascal Oliva (no noble rascal, however)
comes to Hungary, do not have much to do with him ; I
am glad that this connection, which was only formed through
necessity, will hereby be entirely broken off. More by
word of mouth. I am now in Baden, now here — in Baden I
must be inquired for at the Sauerhof. Farewell, let me soon
have news of you.

Your friend,

Beethoven.

[According to the copy among Jahn's Beethoven Papers. The
original was formerly in the possession of Count Geyza von Bruns-
wick. Its date must not be placed too early in this year, for the
decree with regard to the annuity only dates from March ; one can

166 BEETHOVENS LETTERS

scarcely suppose that the composer would have complained of
the burden of the decree so soon after signing it. This and
other things in the letter point to the summer of this year. Who
is indicated by " R." cannot be determined. It may have been
Reichardt, if the letter has been properly deciphered ; that, how-
ever, is open to question. Forray was the husband of a cousin of
Count Franz, Countess Julie von Brunswick ; he was an able
pianist. We shall often come across complaints about the siren-
like decree. Beethoven lived frequently in the Pasqualati house
on the Mölker bastion. As regards the " rascal " Oliva, thereby
hangs a tale. Franz Oliva was a man of letters and a musician.
He was for a long time an official in the Bank of Ofenheim and
Herz. During the years 1810 and 1811 Beethoven held much
intercourse with him ; in 1811 he was, indeed, the bearer of a letter
to Goethe. The variations in D (Op. 76) composed in the year
1809 were dedicated to him ; the original edition, published by
B. and H. in 1810, expressly says, " compos ees et dediees ä son ami
Oliva. ," Anyhow, there was ebb and flow in the friendly relation-
ship. Even the Conversation Books of the years 1819 and 1820
rarely speak of Oliva. After 1820 his name is no longer heard of
in connection with Beethoven. There is some mystery.]

CXCI To BREITKOPF and HÄRTEL, Leipzig

Vienna, 20th {June ?) 1809.
Most honoured Sir !

The fatal period now approaching only allows me to write
you a few lines in haste. First of all, the uncertainty of the
post pervents me sending you anything — for the moment,
only what still occurs to me about the Trios. First of all,
if the title is not yet ready, I should like the dedication to be
made at once to the Archduke Rudolf ; you could take it
from the Concerto in G, which has been printed here by the
Industrie-Kontor. I have noticed now and again that if
I dedicate something to another person, and he happens to
like the work, he feels a slight regret ; he has become very
fond of these Trios ; it would, therefore, probably again
cause him pain if they were dedicated to any one else ;
if, however, it has been done, there is no help for it.

With regard to the Trio in E fiat, I would ask you to see
whether in the last Allegro after the 102nd bar in the second
part, this passage stands so for the 'cello and violin.

Violin.

BEETHOVEN'S LETTERS

No. 1 No. 2

167

If this passage is written in the score as at No. 1, it must
be changed, and put as in No. 2. I found this passage so in
the written-out parts, and that led me to suppose that
perhaps the copyist had made the same mistake in the score —
if not, all the better. If there are ritardandos in several
places in this very movement, strike them all out. Wherever
they may be, they have no place in the whole of this move-
ment. It will not be bad in the following passages in this
same piece to mark the fingering thus :

Left Hand.

2 4 14 13 2

168 BEETHOVENS LETTERS

Left Hand.

n*~ oV,* * — ■» ~7~ P •

r^gt|»b* „ ... n

Youwill easily be able to find these passages without my
indicating how many bars from some starting-point.

The constant distraction amidst which I have been living
for some time did not permit me to point this out to you
at once. However, I shall soon be myself again — and a thing
of that sort will not occur any more. Heaven only grant
that I may not be again disturbed by any terrible event of
some other kind. But who can feel concerned about the
similar fate of so many millions ? Farewell, write to me
soon, by then, at least, the letter post ought to be still open,

In haste,

Beethoven.

[According to the original manuscript in the possession of the
B. and H. firm in Leipzig ; yet unprinted. From this letter we learn
two interesting things. First, the surprising delicate reference to
the musical likings of the Archduke Rudolf — and that already in
the year 1809. Secondly, the letter gives fresh opportunity for
studying Beethoven's system of fingering. The composer rarely
indicated fingering in his pianoforte pieces. The score of the
Trio in E flat, in its final movement, actually gives this fingering
for the left hand, but — and that is still more extraordinary — with
certain differences. Pianists are recommended to compare the
passage given in this letter with the one in the B. and H. critical
edition. Anyhow, we have again to express our astonishment at
the extraordinary care the master took in the correction of his
works.]

BEETHOVENS LETTERS 169

CXCII To BREITKOPF and HAERTEL

[Spring or Summer 1809 ?]

— by an amateur, as indeed you must have seen, who begged
me, to set it to music, but also takes the liberty of giving the
Aria to Artaria to print. I have therefore thought, as proof of
friendly feeling towards you, at once to inform you of this. As
soon as you receive it, put it into the hands of the printers.
You can then send it here or anywhere else, if you make haste ;
the Aria will arrive here before it comes out here ; I know for
certain that Artaria will publish it. I only wrote the A. as
a favour, and in like manner I also give it to you. I, however,
beg for myself the following book, Bechstein's " Natur-
geschichte der Vögel " in two stout volumes with coloured
engravings. In presenting it to a good friend of mine, I
shall give him great pleasure. Of your permission to ask
for scores which you have at Traig's and at the Industrie
I have as yet made no use. Please send me something in
writing that I can show them. I have received your draft,
which I have already cashed. I am sorry if I perhaps made
a mistake, but I don't understand anything about such
matters. My health is not yet very sound — we get poor
food and have to pay an incredible price for it. The matter
of my post is not yet in order, from Kinsky I have not
received anything. I fear, or I almost hope, that I shall
have to run away, even perhaps on account of my health.
It will be long ere the present state of things improves ; of
a return of the former there is no hope.

Your most devoted,

Beethoven.
[According to Nohl, who remarks, "in the possession (i.e., 1865)
of Keil, councillor of legation in Leipzig. The first page is torn,
also the address is wanting ; but it is without doubt addressed to
Haertel." The A. (Aria) mentioned was most probably the " Lied
aus der Ferne," written in 1809, text by Reissig. The autograph,
according to Thayer, was sold by Artaria to the pianist Mortier de
Fontaine. The manuscript had on it Beethoven's name and the
date, 1809. It was published in May 1810, by B. and H. It also
appeared at Artaria's in July 1810 in a collection of eighteen
songs by various masters, and respectfully dedicated by E. L.
Reissig to the Archduke Rudolf. The history of this letter is
interesting. In February 1810, the chief portion' of the letter
which had been lost, was restored to the Leipzig firm. This
fragment, therefore, belongs to the year 1810. (See Letter CCX.)]

170 BEETHOVENS LETTERS

CXCIII To BARON VON HAMMER-PURGSTALL

[Summer 1809]

Forgive, worthy H., that I have not yet brought you the
letter for Paris. Just now I am busy with so many things
that I have had to put off writing from one day to another ;
meanwhile you will receive the letter to-morrow, if it is really
not possible for me to come and see you myself, as I should
so much like to do. There is another matter which I would
enjoin upon you. Perhaps it would be possible for you to do
something for a poor unfortunate man, namely, for Herr Stoll,
son of the famous physician. By other men it is often said
how some have become unfortunate through their own or
somebody else's fault ; that, however, will not be the case
either with you or with me. It is sufficient that Stoll is
unfortunate ; his sole hope is in a journey to Paris, because
last year he made acquaintance with some influential people
who will help him from there to get a Professorship in West-
phalia. Stoll, therefore, spoke to a Herr von Neumann, who
is at the State Chancery, about going with a courier to Paris,
but the courier would only take him for a sum of 25 louis
d'ors. Now I ask you, my good friend, whether you would
speak with von Neumann, so that he might make it possible
for the courier to take Stoll with him gratis, or anyhow for
a very small sum. While informing you of this matter, I
am convinced that, should nothing otherwise hinder you,
you will willingly intercede for poor Stoll. I am going
to-day again into the country, yet I hope some day to be
fortunate enough to be able to spend an hour in your com-
pany. Up to then, my kind regards, and I hope that you
remain convinced of the respect of

Your most devoted servant,

Ludwig van Beethoven.

[According to Jahn's copy. Beethoven at this time was on
friendly terms with the young poet Joseph Ludwig Stoll, son of
the physician, Max Stoll, the gifted representative of Humoral
Pathology. The old cry : " Here followers of Brown, here fol-
lowers of Stoll " plays an important role in Beethoven's life. This
great physician left a large fortune, which his literary gifted son
quickly squandered. However, he could not live on poetry, and
it was a question of finding a settled post ; so he was trying
to get a Professorship in Westphalia. The composer twice
set to music Stoll's "An die Geliebte," first in December 1811,

BEETHOVENS LETTERS 171

and afterwards for the album of the Bavarian Court singer, Regina
Lang, December 1812. Stoll, anyhow, was a child of luck. When
Napoleon was in Vienna, he was made acquainted with Stoll's
fate. Many assert that Napoleon granted him a pension of 500
Fr. under the impression that he was dealing with the physician
Stoll himself. Dr. C. von Wurzbach in his great lexicon tells a
different tale. He states that Stoll was presented to Napoleon at
Vienna, who gave to the poor son of the famous physician a small
pension. Stoll is said to have quickly lost it ; he came to a bad
end. Unland sang about him in the poem : " Auf einen ver-
hungerten Dichter."]

CXCIV To the Librarian BIGOT

[1809]
My dear Bigot,

Already for some days I have been a prisoner with a
feverish attack. As I was on the point of coming to see you,
I became much worse, and I am now in bed — owing to a
chill. The warmth ought to restore me to my former state,
and so I hope that I shall be already better to-morrow.
Here is my decision about my going away. Many kind
messages to you and yours from your devoted,

L. v. Bthoven.

[According to the 'original manuscript in the possession of
C. Meinert of Frankfort.]

CXCV To the Same

[1809]

As I have no cahiers to show of my wisdom, my reading.
&c, I therefore send you a few cahiers of my imagination.
Yesterday evening I wanted to pay you a visit, but at the
right moment I remembered that you are not at home on
Saturdays. I see well that I must either come very often to
your house, or not at all. As yet I do not know which of the
two I shall decide upon, I almost think the latter, because
thereby I avoid all compulsion of having to come to you,

Yours ever,

Beethoven.

[On the back] :

Pour Mr. de Bigot.

[According to the original manuscript in the possession of
C. Meinert of Frankfort. The letters to the Bigot family are among
the most interesting documents for the love-affairs of Beethoven ;

172 BEETHOVEN'S LETTERS

these two small letters of the master to the librarian supplement the
hitherto communicated three Bigot letters (Nos. CL, CLI and CLII).
Beethoven raved about Marie Bigot, as he had seldom done about
any other woman, so that he was here really in danger of becoming
unfaithful to his iron principle not to fall in love with one who
could not be his. Honour, however, gained the upper hand. A
certain coldness, may however, have been occasioned ; it can
even be felt in these notes to Bigot. The Bigots, however, left
Vienna in the same year, and settled in Paris. By " cahiers of my
imagination " must be understood compositions of Beethoven.]

CXCVI To BREITKOPF and HAERTEL, Leipzig

[26th July, 1809]
Dear Sir,

You make a great mistake in thinking that I was so
prosperous. We have passed through a great deal of misery.
When I tell you that since the 4th May I have brought
into the world little that is connected, only here and there
a fragment. The whole course of events has affected me
body and soul ; nor can I have the enjoyment of country
life, so indispensable to me — my position, only lately assured,
rests on a loose foundation. Even during this short period
I have not had all the promises made to me actually fulfilled.
From Prince Kynsky, one of the persons concerned, I have
not received a farthing, and that just at the time when it is
most needed. Heaven only knows how things will go on ; I
shall now probably have to change my residence. Con-
tributions begin from to-day. What a disturbing, wild life
all around me, nothing but drums, cannons, men, misery of
all sorts. My present position forces me again to bargain
with you ; hence I believe that you could probably send me
250 fl. in convention coin for the three great works. I
really do not think that it is at all an out-of-the-way sum,
and I now need it — for on all that is promised me in my
decree I cannot at this moment count. Write to me whether
you accept this proposal ; for the Mass alone I could get an
honorarium of 100 fl. in convention coin ; you know that in
such matters I always speak frankly to you. — Here's a fair
lot of faults, which have been pointed out to me in the
'cello part by a good friend, for I have never in my lifetime
troubled about what I have already written. I will have a
list written or printed, and announced in the paper, so that

BEETHOVENS LETTERS 173

all who have bought the work can get it. This brings me
back to the confirmation of the experience which I have
made, that it is best to have things printed from my own
manuscript — probably there are also many faults in the
copy which you have ; but in looking over the music the
composer actually overlooks the faults. You will shortly
receive the song " ich denke dein," which was to have been
included in the unfortunate Prometheus, and which, without
your reminding me of it, I should have quite forgotten.
Accept it as a small present. I only now thank you for the
really beautiful translation of the tragedies of Euripides ; I
have marked something out of Kalliröe among pieces of
poetry which I have decided to set to music instrumental
or vocal — only I should like to know the name of the author
or translator of these tragedies. I have got from Traeg the
Messiah as a privilege, which you already granted to me with
some eagerness when here ; in fact I have taken further
advantage of it, for I had commenced to have vocal music
at my house every week, but the unhappy war put a stop to
all that. For this purpose I should be pleased if you would
let me have by degrees the scores of the masters which you
have, as for example, Mozart's Requiem, &c, Haydn's Masses
especially everything of the scores of, for instance, Haydn,
Mozart, Bach, Johann Sebastian Bach, Emanuel, &c. Of
Emanuel Bach's pianoforte works I have only a few things,
yet a few by that true artist serve not only for high enjoyment
but also for study ; and it gives me the greatest pleasure to
play over to a few genuine art friends works which I have
never or only seldom seen. I will arrange to compensate you
in a way which ought to satisfy you. I hear that the first
Trio is in Vienna ; I have received no copy and therefore
beg you, I should indeed very much like it, if you would
still send to me the other works, which have to be published,
for correction. You will in future receive all scores in my
own handwriting ; I may possibly send you the written-out
parts used at performances. If I change my place of resi-
dence, I will at once let you know, but if you write at once,
your answer will safely find me here. I hope Heaven will
grant that I may not have entirely to give up Vienna as my
settled abode. Farewell, all kind wishes to you so far as
our wild period permits, bear in remembrance,

Your most devoted servant and friend,

Beethoven.
Vienna, 26th July, 1809.

174 BEETHOVENS LETTERS

[According to the original manuscript in the possession of
B. and H., Leipzig ; first printed by La Mara. This long letter gives
a picture of the general miserable state of the citizens of Austria and
especially of Beethoven. It was in July, a few weeks after the fear-
ful battle of Wagram, and after the short, sunny moment for Austria
at Aspern, that humiliation ensued. After Napoleon had accepted
the crown, Beethoven became a bitter enemy of the Corsican.
Here stood one powerful world spirit opposed to another. Still,
in July of this year, Beethoven's position was " on a loose founda-
tion," although the contract had been only signed on the 1st
March. So Beethoven was hesitating whether or not he should
quit Vienna for good ; however, in his secret heart he hoped
Heaven would prevent his having to go away. We here learn that
the song " Ich denke dein " was originally intended to be included
in the Prometheus BaUet. The song was published in 1810 by
B. and H. In spite of the terrible events, is shown the composer's
liking for ancient and for modern literature connected with it.
Kalirrhoe was a tragedy by Johann August Apel, which appeared
in 1807. This poet and writer was born at Leipzig in 1771, and
died there in August 1816. He generally chose ancient subjects
for his dramas ; later on he gave himself up to novels and tales.
The fact deserves mention that Friedrich Kind took material for
his " Freischütz " libretto from Apel's four- volume " Gespenster-
buch," which he published in conjunction with F. Laun at Leipzig.
In this letter we also learn that Beethoven had arranged a small
gathering at his house for the performance of vocal music, from
which it is a pleasure to know that the master's deafness at that
period cannot have been very severe. The fact also serves to
show that the reproach made to Beethoven of showing indifference
towards other composers is not justified. He asks for Haydn,
Mozart, Bach (father and son) ; his high appreciation of the piano-
forte works of Philip Emanuel Bach deserves special note. The
first Trio here mentioned, that is, the first of the Erdödy Trios,
D major (Op. 70) was published.]

CXCVII To BREITKOPF and HARTEL

Vienna, 3rd August-month, 1809.

Do not laugh at my anxiety as an author. Just imagine
that yesterday I discovered that in correcting the faults in
the 'cello Sonata I made some fresh ones — so in the Scherzo
allegro molto this f? remains as indicated at first, and so
also in the other places, only in the 9th bar before the first
note there must be a piano and likewise in the other two
places, at the 9th bar, where the three sharps change into

BEETHOVENS LETTERS 175

three naturals. So much for this matter ; from it you will
see that I am just in that state which may be described as
" Lord, into Thy hands I commend my spirit." By the
next mail coach you will receive one, or still other song and a
sextet for wind instruments as future compensation for the
opera benevolentiw, which I am finishing for you to please
myself.

Please do not forget the name of the poet who has so
finely reproduced Euripides for us. — I must hurry, for the
letters must be at the post by 5 o'clock, and it is already
4.30, and I live " in Klepperstall in the Teinfaltstrasse on the
3rd floor in the house of the lawyer Gostischa."

Farewell,

Yours truly,

Beethoven.

[According to the original manuscript in the possession of
B. and H. Leipzig ; imprinted. This letter, after the remarks to
the former one, is clear. More will be said in the next letter about
the songs sent, and the Sextet for wind instruments (Op. 71).]

CXCVIII To BREITKOPF and HAERTEL

Vienna, August 8, 1809.

I have handed over to Kind * and Co. a sextet for 2
clarinets, 2 basoons, 2 horns, and 2 German lieder or songs,
so that they may reach you as soon as possible — they are
presents to you in return for all those things which I asked
you for as presents — the Musik Zeitung I had also forgotten,
I remind you in a friendly way about it. Perhaps you
could let me have editions of Goethe's and of Schiller's
complete works — from their literary abundance something
comes in to you, and I then send to you many things, i.e.,
something which goes out into all the world. Those two poets
are my favourite poets, also Ossian, Homer, the latter of
whom I can, unfortunately, only read in translation. So
these (Goethe and Schiller) you have only to shoot out from
your literary store-house, and if you send them to me soon
you will make me perfectly happy, and all the more so,
seeing that I hope to pass the remainder of the summer in
some cosy country corner. The sextet is one of my early
things, and, moreover, was written in one night — the best

* Nohl has " Kunz " which is probably the better reading.

176 BEETHOVENS LETTERS

one can say of it is that it was composed by an Author who,
at any rate, has produced better works — and yet for many,
such works are the best.

Farewell, and send very soon news

To your

most devoted,

Beethoven.
Of the 'cello Sonata I
should like to have a few copies ;
I would indeed beg you
always to send me half a
dozen copies — I never sell
any — there are, however,
here and there poor Musici,
to whom one cannot refuse
a thing of that sort.

[According to the copy in the Berlin Library, among Jahn's
papers, probably from the original formerly in the possession of
Herr Rektor Klee in Dresden. The copy is not by Jahn himself,
but by Klee, from whom there is a copy of another letter to B.
and H., which had been presented " to me by Haertel." (See
Letter LIII). The Sextet was published by B. and H., January
1810, without opus number. The Lieder are the already mentioned
" Lied aus der Ferne," by Reissig, and " Andenken," by Matthisson.
The 'cello Sonata in A (Op. 69) was completed this summer ; on
the copy which he gave to his friend, V. Gleichenstein, he wrote
the melancholy words, " Inter Lacrymas et Luctum " (Thayer
III. 83).]

CXCIX To an unknown poet (v. HAMMER-
PURGSTALL ?)

[1809 ?]
[Without address and without date.]
Dear Sir,

I am the innocent cause that you have been worried
and importuned, for I gave no one any other order except
to find out how far there was any truth in the report that
you had written an opera poem for me. I must really
thank you very much for your kindness in sending to me this
beautiful poem, so as to convince me that you have really
found it worth while to make a sacrifice of your high Muse for
my sake. I hope your health will soon improve; I too am
suffering, and only country life, which should come about
one of these days, can bring me alleviation ; and then I

BEETHOVENS LETTERS 177

hope to see you there at my house when we can talk over all
necessary matters. I am partly overwhelmed with business,
partly, as already mentioned, ill, and thus prevented coming
to you now, and expressing to you better than I can do by
writing, the great pleasure which you have afforded me by
your magnificent poem. I may say that I am prouder of
this than of the greatest distinctions which could be bestowed
on me.

With special admiration,

Your most devoted,

Beethoven.

[According to the original manuscript in the possession of Karl
Meinert, Frankfort-on-Main. The letter was first published by
the editor of these letters in the Deutsche Revue. That the
letter was written to a poet is clear. Everything points to the
already-mentioned Orientalist and poet Hammer-Purgstall as the
receiver of this letter. Beethoven at this period held, as we know,
frequent intercourse with him ; also, other letters to him are in
the same exaggerated tone. It is also possible that it may have
been the poet Heinrich von Collin, with whom Beethoven at the
time was in communication concerning an opera libretto. It may,
however, be mentioned that the autograph of Letter CXLVI,
addressed to v. Hammer-Purgstall, was also in the possession of
C. Meinert.]

CC To N. von ZMESKALL

[Summer 1809 ?]

I am coming to-day to the " Swan." I cannot tell you
anything pleasant about myself.

Your friend Beethoven.

[According to the original manuscript in the Royal Library,
Berlin. This note bears no address, but was evidently intended
for Zmeskall.]

CCI To BREITKOPF and HAERTEL, Leipzig

Vienna, 19th Wine month 1809.
Honoured Sir,

In answer to your letter of the 21st of August I declare
that I am thoroughly satisfied if you pay me some items
in Vienna currency (but not much) — the 3 works are already
sent off, but I really wish that you would send me the honora-

I M

178 BEETHOVENS LETTERS

Hum for these 3 works before they arrive in Leipzig; if
you would make it payable immediately to me here I
should be very glad — we are here in want of money, for it
costs us twice as much as formerly — cursed war — please
put tempo Allegretto to the song in D — otherwise it will be
taken too slowly — please write to me what the editions of
Schiller, Goethe cost in convention coin, also the small-
size edition of Wieland — if I buy them, I would rather have
them from you, for all the editions here are bungled and
dear — Next time about the quartets which I am writing —
I do not care to have to do with pianoforte solo Sonatas,
yet I promise you some — do you know that I have already
become a member of the Society of Fine Arts and Sciences ?
— so I have got a title — ha ha ! I cannot help laughing.

Farewell, I have only time to say that I call myself your
most devoted

Beethoven.

Do not forget my request about the money.

[According to the original manuscript in the possession of B.
and H. ; unprinted. The here-mentioned " Song in D " can
surely only be the "Andenken" by Matthisson. It actually came
out at B. and H.'s in May 1810. This song is marked Andante con
moto, a tempo, which, though not quite the same as Allegretto, is
something very like it. With regard to Beethoven's confession
respecting pianoforte sonatas, it may be noted that after the
Appassionata, composed somewhere between 1804 and 1805, the
only important sonatas up to 1809 were those in F sharp (Op. 78)
and the " Adieux " Sonata (Op. 81a). And yet later on Beethoven
revealed his genius to the full in works of this kind. His ironical
remark respecting being membership of a society leads us to ask, on
what town did this honour fall ?]

CCII To BREITKOPF and HAERTEL, Leipzig

Wednesday

second winter month 1809.

I write to you at last — after the wild discomfort, some
rest, after all unimaginable inconveniences — I have been
working for some weeks as if for death rather than for immor-
tality— and so I received your packet without a letter, and
paid no further attention to it — only a few days ago I took
it up, and I strongly blame you. Why should not this very
beautiful edition have been free from faults ? ? ? ? Why

BEETHOVENS LETTERS 179

did you not first send me a copy to look over, as I have
often requested ? In every copy faults slip in, which, how-
ever, can be set right by any clever proof reader, although
I am almost certain that there are few or possibly none in
the copy which I sent you ; it is impossible always to send
one's own manuscript. I have however looked so carefully
through the Trios and Symphonies, that still further revision
could only show a few unimportant errors — I am somewhat
annoyed about the matter — here is the list. Have printed
[for] poet and author, failing their presence at the printing-
works, a list of the faults ; do it thus — I'll see to it here. —
I have no news as to whether you have received my 3 works
— they must have reached you already some time ago — I
could not yet write to you about Dr. Apel, but as one who holds
him in high esteem I send kind regards. One thing more :
I am sure there is no treatise f which would be too learned
for me; without in the least making a claim to learned-
ness on my own part, I have always tried from childhood
onwards to grasp the meaning of the better and the wise
of every age. It is a disgrace for any artist who does not
think it his duty at least to do that much.

What do you say to this dead peace ? — I expect nothing
solid any more in this age ; only in blind chance is there any
certainty — Farewell my honoured friend, and let me know
soon how you are getting on, and whether you have received
the works.

Your most devoted friend,

Beethoven.

This one copy of the Symphony in C minor is not com-
plete ; I therefore beg you to send me some copies of it and
also of the Pastoral.

[According to Thayer (III. 93) who states that the original was
in the possession of Otto Jahn. The first of November, by the
way, was a Wednesday. The letter is not among the Jahn Beet-
hoven papers. The whole sentence concerning " poet and author "
is anything but clear. Where is the original ? The " dead peace "
was the one concluded in 1809 between Napoleon and Austria.]

CCIII To FERDINAND RIES, Vienna

[1809]

Your friends, my dear fellow ! have in any case badly
advised you. But I know them already ; they are the same

180 BEETHOVEN'S LETTERS

to whom you sent the beautiful news about me from Paris ;
the same who inquired about my age, about which you
knew how to give such good information ; the same who
have already injured you with me several times, but now
for ever.

Farewell,

Beethoven.

[According to Dr. Deiter's revised edition of Beethoven's
letters to Ries. F. Ries ascribes this little letter to the year 1809,
and gives the following thoroughly satisfactory explanations :

(1) The immediate occasion for this letter I cannot remember.
I had written from Paris that the taste for music there was bad,
and that one knew little and played little of Beethoven's works.

(2) Some friends of Beethoven wished to know exactly the day of
his birth. I gave myself much trouble when I was at Bonn in
1806 to find his certificate of baptism ; I was at last successful and
sent it to Vienna. He would never speak about his age. (3) His
resentment soon passed away and the old friendship was renewed.
The note may belong to October or November of this year.]

CCIV To GEORGE THOMSON, Edinburgh

" Vienne, le 23 Novembre, 1809.
Monsieur !

Je composerai des Ritornelles pour les 43 petits Airs,
mais je demande encore 10 livres sterling ou 20 ducats de
Vienne en especes plus, que vous m'avez offert ainsi au lieu
de cinquante livres sterling ou cent ducats de Vienne en
especes, je demande 60 livres sterling ou 120 ducats de Vienne
en especes — Cette (!) travail est outre cela une chose, qui ne
fait pas grand plaisir ä l'artiste, mais pourtant je serai tou-
jours pres de vous en consentir, sachant qu'il y a quelque
chose utile pour le comerce. — Quant ä les Quintuors et
les trois Sonates, je trouve l'honorar trop petit pour moi —
je vous en demande la some de 120 c'est ä dire cent vingt
livres sterling ou deux cents quarante ducats de Vienne en
especes, vous m'avez offert 60 livres sterling et c'est impos-
sible pour moi de vous satisfaire pour un tel honorar — nous
vivons ici dans un terns ou tous les choses s'exigent ä un
terrible haut prix, presque on paye ici trois fois si eher come
avant — mais si vous consentiez la some que je demande, je
vous servirai avec plaisir — Je crois quant ä la publication de
ces ceuvres ici en Allemagne, je me voulais engager de ne les

BEETHOVENS LETTERS 181

publier pas plutot, qu'apres sept ou huit mois, quand vous
trouverez ce tems süffisant pour vous. — Quant a contre
Basse ou Basson je voudrais que vous nie laissez libre, peut-
etre que je trouverai encore quelque chose plus agreable
pour vous — aussi on pouvait choisir avec la flute un Basson
ou quelques autres instrumens ä vents, et faire seulement
le 3me Quintuor pour deux Violons, deux Viola, Violoncelle,
come le genre sera par cela plus pur — Enfin soyez assures
Monsieur que vous traitez avec un vrai Artiste qui aime
d'etre honorablement paye mais qui pourtant aime encore
plus sa gloire et aussi la gloire de l'art — et qui n'est jamais
content de soi meme et je tache d'aller toujours plus loin et
de faire de progres encore plus grands dans son art.

Quant aux chansons je les ai deja commence et je donnera
en vers huit jours ä Fries — donnes moi done bientot une
Reponse, Monsieur, et recevez ici la consideration particu-
liere

de
votre

serviteur

Louis van Beethoven."
une autre fois je vous prie
aussi de m'envoyer les paroles
des Chansons, come il est bien
necessaire de les avoir pour donner
la vrai expression.

[According to the original manuscript in the British Museum.
Tr.. Towards the end of September 1809, Thomson sent 43
Welsh and Irish melodies to Beethoven with the request that he
would compose, and very quickly, ritornelli and accompaniments
for pianoforte or pedal-harp — in addition for violin and 'cello.]

CCV To BREITKOPF and HAERTEL, Leipzig

[Vienna {Uh?) December 1809]
(Errata).
2nd Trio in E flat, Allegretto in C major. Pianoforte

a c f a

in the bass, instead of dirtjit=f=jr= it must be : ~^z

Page 17, 8th line, 7th bar, namely : after the 4 bars rest,

182 BEETHOVENS LETTERS

instead of iE^]== it must be /T I— Violoncello 1st
Trio in D, 1st Allegro, 2nd part, at bar 60 there is a crochet
rest omitted ==±B=t£E!EEz|| likewise at the 64th bar

g±iljb£j^

A fever, which thoroughly upset me, prevented me sending
you at once these extra errata which I have discovered; io:
the future have everything tried over at your place with some
instruments, so that such faults may be found" at once and
corrected. I have often told you this, and tell you once
again that a proof is the safest plan. And do answer soon
also about the 3 works, as you must have had them for a
fairly long time. In haste,

Your Beethoven.

[According to the original manuscript in the possession of B.
and H., Leipzig ; unprinted.]

CCVI To BREITHOPF and HAERTEL, Leipzig

[December 1809 ?]

The book of the opera and of the oratorio will be sent off by
stage coach next Tuesday. I have not yet received any
copies of the musical paper — I have recently had sent to
me a poem " The Descent into Hell of the Saviour," which
might serve as a sequel to " The Mount of Olives " ; it
seems as if the author had seen or heard something of my
oratorio — it is cleverly written.

Next about Dr. Apel— I only wish to get over this very
depressing winter so that I may revive ; the fatal summer
that we have passed through, and a certain melancholy echo
of the only German land now sunk low, and to some extent
through its own fault, continually haunt me. What do
you say to the scribble in Reichardt's letters ? Of these,
however, I have as yet only seen a few fragments.

[According to Nohl. This letter, formerly in the possession of
W. Künzel, concerns Fidelio and The Mount of Olives, which have
already been mentioned in previous letter,-. . The pianoforte score

BEETHOVENS LETTERS 183

of the opera, the second version, appeared at B. and H.'s, October
1810, The Mount of Olives in October 1811 ; the Mass in C
likewise there in 1812. Mention has already been made of Dr.
Apel. Noteworthy is Beethoven's unfavourable opinion concern-
ing Reichardt's " Vertraute Briefe," which appeared in 1809.]

CCVII To BARON v. ZMESKALL

[December 1809?]

You can read this to the servants — the affair is so and
not otherwise. It was my fault that I gave ear to com-
passion. It is, meanwhile, a lesson to me. You will do best
to let them come to you to-morrow morning, and treat them
both severely and with contempt, for they both deserve it
as regards myself. In haste,

Your Beethoven.

[According to Jahn-Thayer.]

CCVIII To BREITKOPF and HAERTEL, Leipzig

Vienna, 2nd January, 1810.

Scarcely recovered — I became ill again for two long
weeks — it is no wonder — we have not even any good bread
fit to eat. The enclosed shows the exchange for Saturday,
when I received your letter, the sum of 250 fl. in convention
coin had long been transferred to another person, as a deposit
sum over which I am no longer master, so that I do not
know in the least how to procure this silver money. My
brother is not here, he possibly might have found means
to change this draft sent to me into silver money. One of
my friends who is a money-changer, to whom I told the matter,
said that there was nothing else to do, but to send you back
the draft, because the exchange varied at every moment,
and as the silver money would probably rise, one could
not now exactly determine the exchange.

I therefore beseech you, as agreed, to let me have the
250 fl., convention coin, for example, in 20-kr. pieces, to be
paid here by Kunz and Co., for it is now a fairly long time
since I transferred the same sum to some one else, and I am
bound to return the same in silver money — I should be very
glad if you would do this as quickly as possible, for he has

184 BEETHOVENS LETTERS

been waiting for it for a long time, because I kept on thinking
that the works would come out quicker. For to-day I am
too weak to further answer your kind letter, yet in a few days
I will write about all other matters — your most devoted

Beethoven.

[According to the original manuscript in the possession of the
B. and H. firm ; unprinted. The firm, Kunz and Co., was named
for the first time in a former letter (CXCVIII) to B. and H.j

CCIX To BARON von ZMESKALL

[23rd January, 1810]

What are you doing ? — my assumed hilarity the day
before yesterday not only caused you pain, but appears also
to have offended you — the uninvited company seemed so
unsuitable for your just complaint, that I, with the friendly
authority of a friend, wished through my assumed good-
humour to prevent you from giving further utterance to it.
I myself am suffering from my abdominal complaint. Say
whether you are coming to-day to the " Swan."

Your true friend,

Beethoven.

[From the collection of Herr G. A. Petter, of Vienna ; first
printed by Nohl. The date is in Zmeskall's handwriting ; Thayer
has 1809 instead of 1810.]

CCX To BREITKOPF and HAERTEL, Leipzig

Vienna the 4th February, 1810.

I hope you will already have received back the draft
for 500 florins which you sent to me, and I beg you to let me
know. My health is not quite restored, but there is an
improvement — with the next letter you will receive the books
of the opera and of the oratorio — ought you not to have a
German text for the Mass, though without leaving out the
Latin? I specially send you the organ part. If you have
not already printed it, I want it to appear in quite a different
way, but if it has already been printed there is nothing to
be done. — Here of new works : a Fantasia for pianoforte
alone — likewise for piano with full orchestra and choruses.

BEETHOVENS LETTERS 185

N.B. — Likewise those about which you wrote. 3 pianoforte
solo Sonatas. — N.B. the 3rd consisting of 3 movements,
Abschied, Abwesenheit, das Wiedersehn, to be published
separately.

Variations for pianoforte alone.

12 songs with pianoforte accompaniment, partly with
German, partly Italian text, nearly all through-composed.

Concerto for pianoforte with full orchestra.

Quartet for 2 violins, viola, violoncello.

As I shall probably be able to send these works to
London, you can send them to any other place but England ;
your edition, however, for the reason just stated, must not
appear sooner than the 1st September of this year 1810 —
I do not think that I am asking extravagant terms. / want
1450 florins in convention coin in the same way as the hono-
rarium was paid to me for the oratorio, opera, and Mass.
You could forward this sum in two halves, the first could
be assigned to me after you had received the first half
of the works, and likewise the other half after the second
half of the works.

With regard to the oratorio I beg you to see whether the
3 trombones, drums and trumpets are in my score sent to
you, at the places here indicated.

Alto x

Tenor I Trombones

Bass >

in the Aria No. 2, " oheil euch " with
chorus, where all 3 must come in at
the alia breve time alio molto

Trumpets
Drums

also come in at (p alio molto of No. 2
and are in E flat ; the drums only at
the 48th bar, Alio molto $ and they
are in A —

Alto \

Tenor \ Trombones

Bass 1

in Recit : No. 3 " Verkündet Seraph "

Drum in C in the chorus in C " wir haben ihn gesehen " —

Trumpets in D in the chorus in D " hier ist er der Verbannte
Drums

Alto -J

Tenor r Trombones last chorus in C " Welten Singen "

Bass '

Trumpets

Drums

186 BEETHOVENS LETTERS

if any of the said parts are wanting I will have them
written out in small notes and sent to you.

The Gesang in der feme which my brother recently sent
you, was, as you may have noticed, by an amateur, as indeed
you must have seen, who begged me, to set it to music, but also
takes the liberty of giving the Aria to Artaria to print. I have
therefore thought, as proof of my friendly feeling towards
you, to inform you of this. As soon as you receive it, put it
into the hands of the printers. You can then send it here
or anywhere else ; if you make haste the Aria will arrive here
before it comes out here ; I know for certain that Artaria
will publish it. I only wrote the A. as a favour, and in like
manner I also give it to you. I, however, beg for myself the
following book, Bechstein's " Naturgeschichte der Vögel "
in two stout volumes with coloured engravings. In pre-
senting it to a good friend of mine, I shall give him great
pleasure. Of the permission to ask for scores which you
have at Traig's and at the Industrie I have as yet made
no use. Please send me something in writing that I can
show them. I have received your bill, which I have already
cashed. I am sorry if I perhaps made a mistake, but I
don't understand anything about such matters. My health
is not yet very sound — we get poor food and have to pay an
incredible price for it. The matter of my post is not yet in
order, from Kinsky I have not received anything. I fear,
or I almost hope, that I shall have to run away, even perhaps
on account of my health. It will be long ere the present state
of things improves ; of a return of the former there is no
hope.

Your most devoted,

Beethoven.

[According to the original manuscript * in the possession of
B. and H. The works offered in this letter were all published by
B. and H. The Fantasia in G minor for pianoforte (Op. 77) ap-
peared in December 1810 ; the C minor Faniasia for pianoforte
chorus and orchestra, dedicated to King Joseph of Bavaria, in 1811.
The three pianoforte sonatas were Op. 78, dedicated to Countess
Therese of Brunswick, which appeared in December 1810, Op. 79,
which likewise appeared at the same time, and the great character-
istic Sonata in E flat, Op. 81a, which appeared there in July 1811,
The pianoforte variations, those in D dedicated to friend Oliva,
appeared December 1810. Of the twelve songs six appeared, as

* The fragment given by Nohl and Thayer, is given here in its proper place.
(See Letter CXCII) ; it belongs therefore to 1810, not 1809.

BEETHOVENS LETTERS 187

Op. 75, dedicated to Princess Kinsky ; and to these probably
belonged the iour Ariettas and a Duet (Op. 82) which appeared in
1811 ; finally, also, one or other of those in Op. 83. The pianoforte
Concerto was the one in E flat, dedicated to the Archduke Rudolph,
and the Quartet the one in E flat (Op. 74), dedicated to Prince
Lobkowitz.]

CCXI For PROFESSOR von LOEB

[8th February, 1810]
P. S.

As Baron Pascolati told me that I could again have my
rooms in his house on the 4th floor, where I lived two years
ago, I beg you, dear Sir, to look upon me as your tenant,
that is to say from March quarter, at the rate of 500 florins
per annum — the time is too short to-day, otherwise I would
have seen about the earnest money which I will see to shortly.

Your most devoted servant,
Ludwig van Beethoven.

[According to Nohl, who states that this letter was in the
possession of Frau Antonie von Arneth, nee Adamberger, Vienna.
The short contents concern the rooms in the house of Baron
Pasqualati on the Mölker bastion. Professor Loeb is otherwise
unknown in the history of Beethoven.]

CCXII To N. von ZMESKALL

[l&th April, 1810]

Dear Zmeskall, please send me for a few hours, the
looking-glass which hangs next to your window, mine is
broken. Also be good enough to buy me one to-day like it ;
if so, you will please me greatly, you shall be paid at once
what you lay out — please forgive dear Z. my importunity.
I hope soon to see you.

Your Beethoven.

[According to Thayer (III. 138). This note was in the pos-
session (1879) of H. Rösner of the Wallishauser publishing firm
in Vienna. Beethoven's desire for a looking-glass will be easier
to understand if one remembers that he was now living within
the enchanted circle of the Sibyl of romantic literature. Bettina
Brentano, afterwards von Arnim, was now in Vienna and was
much in the society of the composer. His marriage plans for this
year probably concerned the gifted Bettina.]

188 BEETHOVENS LETTERS

CCXIII To von ZMESKALL

[1810 ; April ?]

Dear Z, do not be angry about my little note — do you
not remember the situation in which I am, as once Hercules
with Queen Omphale ? ? ? I asked you to buy me a
looking-glass like yours, and I beg you as soon as you
can do without yours which I am now sending you, to send
it back to me to-day, for mine is broken. Farewell do not
speak any more of me as "the great man," for I have
never felt the power or the weakness of human nature as I do
now — do not forget me.

[According to the original manuscript in the Vienna Court
Library. Everything points to the high-flown intercourse with
the enchanting maiden Bettina.]

CCXIV To von ZMESKALL

[Spring 1810]

Do not be offended, dear Z., if I am constantly asking
you something — let me know at once how much you paid
for the looking-glass ?

Farewell, we shall soon meet at the " Swan," as the
food daily becomes worse ; since yesterday I have had a
bad attack of colic, but to-day I am already better.

[According to Thayer. The original was in Boston in 1879.]

CCXV To DR. F. G. WEGELER

Vienna, 2nd May, 1810.

Good old friend — I can well imagine that my lines will
surprise you — and yet, although you have had no proof in
writing, I always keep you in lively remembrance. — Among
my manuscripts there has been for a long time one which was
intended for you, and which you will certainly receive before
the end of this summer. A few years ago, quiet peaceful
life came to an end for me. I have been powerfully drawn
into public life ; as yet I have formed no decision in its favour,
perhaps rather against it — for who can escape the storms

BEETHOVENS LETTERS 189

from without ? But I should be fortunate, perhaps one of
the most fortunate of mortals, had not the demon taken up
his abode in my ears. Had I not read somewhere that a
man ought not of his own free-will to take away his life, so
long as he could still perform a good action, I should long ago
have been dead — and, indeed, by my own hand. Oh how
beautiful life is, but for me it is for ever poisoned.

I am sure you will not refuse me a friendly request, if I
beg you to see to my certificate of baptism. Whatever
expenses you incur, as Steffen Breuning has a running
account with you, you can at once pay yourself, and I can
settle everything here with Steffen. If you yourself think
it worth the trouble to hunt up the matter, and care to make
the journey from Coblenz to Bonn, put everything down to
my account ; but there is one thing that you must bear in
mind, namely, that a brother was born before me who was
also called Ludwig, only with the additional name Maria,
but he died. In order to fix my exact age, this must there-
fore be first found, for I already know that through others, a
mistake has been made in the matter, and that I have been
regarded as older than I actually am. Unfortunately I
have lived a long time without even knowing my age. I
had a family book, but it has gone astray, Heaven knows
how ! So do not be angry, if I commend this matter very
warmly to you, viz., to find out about the Ludwig Maria and
the present Ludwig who came after him. The sooner you send
the certificate the greater will be my obligation. I am told
that you sing a song of mine in your Freemasons' Lodge,
probably the one in E, of which I have no copy ; send it
to me and I promise to compensate you three and fourfold
in another way. Think of me however little I may seem to
deserve it. Embrace, kiss your worthy wife, your children,
all that is dear to you, in the name of your friend,

Beethoven.

[According to the Wegeler and Ries Biog. Notices. (See also
the Kalischer reprint.) Dr. Wegeler received no dedication from
his friend, but in praiseworthy resignation he remarks : " My
fate in this re-pect was the same as that of his pupil, Ries :
the dedication remained in the letters. But is not such a one of
higher value ? " From the above letter we see that Beethoven did
not know his exact age ; as, however, he had thoughts of marrying,
he had to get his baptism certificate. In a short article from the
pen of Dr. Knichenberg, director of the Beethovenhaus, Bonn, which
appeared in the Frankfurter Zeitung of October 16, 1806, we read

190 BEETHOVENS LETTERS

that, " Beethoven himself, likewise many of his friends, was firmly
convinced that he was born at Bonn in 1772. Alfred Kalischer,
in the critical edition of the letters which has recently appeared,
in connection with the first letter, which, if not actually composed,
was written by Beethoven, once again discusses, and exhaustively,
this strange error. ... It concerned the dedication of the fir-;t
three Sonatas in E flat, F minor, and D, composed by Beet-
hoven, eleven years of age. Thus runs the title ; as a matter of
fact, the young composer was then thirteen. But it is generally
known that the official entry in the church book of St. Remigius
at Bonn, gives December 17, 1770, as the day of baptism. Kalischer
thus considers, and rightly, that the day of birth was December
15 ; for, according to canonic rule, the exact observance of which
by the servants of the Archbishop may be taken for granted, the
baptism had to take place within three days after birth. How
the error, both of the master and of his friends, probably arose, is
made clear by a simple, yet interesting document which lately
came into the possession of the Bonn Beethovenhaus. It consists of
a scanty little concert bill of a performance at Cologne in 1778, in
which Johann van Beethoven, tenor singer at the Electoral Court,
and father of Ludwig, announces as follows :

' NOTICE

' This day, 26 Martii, 1778, Beethoven, tenor singer to the Elector
of Cologne, at the Academy Hall in the Sternengass, will have the
honour of producing two of his pupils, viz. : Mile. Averdonc, court
alto singer, and his little son, aged 6. The former with various
fine arias, the latter with various pianoforte concertos, will have
the honour of waiting on the audience. He flatters himself that
he is offering to all gentry great pleasure, all the more as both
were graciously allowed to perform before the whole court, and to
its complete satisfaction,' &c.

" It was, therefore, Beethoven's father who made his son two
years younger than he actually was ; thus, as it is easy to understand,
the error in the year of birth gradually took firm root in the minds
of his son and his son's friends. Prodigy children, already also
at that period, became older slower than ordinary mortals. — Kg."

The marriage-scheme was probably with Therese v. Malfatti,
as, indeed, the master, as her relatives asserted, actually made a
proposal of marriage. But, as I already wrote in 1906, if it be
supposed that an offer of marriage had been made by Beethoven in
1809, Bettina Brentano may be regarded as the lady in question ;
and the new strict chronological succession of the Beethoven
letters renders this highly probable. The letter to the gifted
lady still in this year, 1810, the authenticity of which is no longer
doubtful, changes the supposition almost into a certainty. The

BEETHOVENS LETTERS 191

Wegeier " Notices," and the explanations in the new Kalischer
edition give further details concerning the song for Wegeler men-
tioned by Beethoven.]

CCXVI To BREITKOPF and HAERTEL in Leipzig

Vienna, 6th June (1810).

Much to do, also some recreation, very busy all at once,
and at times not being able to avoid being idle, all this is
the cause of my only answering you to-day — you can still
have all that I offered you, Nb.* I now give you in addition
the music to Goethe's Egtnont which consists of 10 numbers :
Overture, Entr'actes, &c, and I want for it the sum of fourteen
hundred gulden in silver money, or convention scale, same
standard as with the oratorio, &c, the 250 fl : — I cannot
accept anything else without being a loser, I have kept back
on your account, although you do not deserve it from me,
for your conduct is often so unexpected that one must have
as good an opinion of you as I have, to continue to transact
business with you — I myself would like in a certain way to
continue business relationship with you — but I cannot afford
to lose — I therefore beg you when you write to me, to send
once more the list of works which I have offered to you,
so that no mistake may occur — but answer at once, so that
I may not be kept waiting any longer, all the more, as Egmont
will be performed in a few days, and I shall be approached
concerning the music — besides the cost of everything here
has so much increased, that it is terrible to think of what
one wants here, and in fact, as generally, the honorarium is
certainly not put at too high a figure.

My 4000 fl. with which I cannot well manage, and in addi-
tion Kynsky has not paid a farthing, although it is safe —
do not even amount to a thousand fl. in convention coin —
to-morrow more — make haste and answer.

Yours,
Ludwig van Beethoven.

[According to the original manuscript in the possession of the
B. and H. firm, in Leipzig ; unprinted. The relationship of
Beethoven with the Leipzig firm, in spite of many differences, was
really very friendly at this time. B. and H. purchased the whole

* Nb. Among the songs which I offer you are several by Goethe, also " Kennst
du das Land '! " which greatly impresses people — these you could publish at once.

192 BEETHOVENS LETTERS

of the Egmont music. The work was performed for the first time
on May 24, 1810 ; the overture appeared in February 1811, but
the other numbers only in April 1812.]

CCXVII To BREITKOPF and HAERTEL, Leipzig

Vienna, 2nd July, 1810.

As you are so great an admirer of round sums, I will let
you have the works named for an honorarium of 250 ducats
in gold, but I cannot make any further reduction, as here by
means of my brother I could get more ; Heaven only grant
that in order to receive something, I may not first be obliged
to bargain with you. You receive here the first lot, which
is to appear by the 1st September, 1810 : it consists of a
violin Quartet in E flat, a Fantasia for piano, two Sonatas
for piano, 5 Variations for piano, 6 Ariettas.

The second lot consists of a Concerto in E flat, the Fantasia
with full orchestra and chorus — and 3 Ariettas which should
all appear on the 1st November, 1810.

The third consists of the characteristic Sonata " Abschied,
Abwesenheit, Wiedersehen " — then of 5 Italian Ariettas,
then the score of Egmont which is not to be published in
England and which you can publish whenever you like.

These could appear on the 11th February, 1811.

The two lots you will receive within fourteen days, so
by the time I hand over the two last lots to Herr Kunz and
Co. you could arrange about the money order. —

In haste,

Beethoven.

[Remarks.]

Egmont is solely your property.

I have at once handed over the works of the first lot to
Kunz and Co., so that you may receive them without delay ;
for the rest I am convinced for several reasons that it is not
possible that by this time the works of the first lot can have
appeared in London, still less that a copy of them could appear
in Germany — the same likewise with regard to the others. It
is, however, certainly necessary for your mercantile good that
they should come out on the 1st September, i.e., the works
of the first lot. You will find manuscripts and copied
works, as I found best.

BEETHOVENS LETTERS 193

The time is too short to write about everything that occurs
to me, more next time. Farewell and answer soon.

Your devoted servant,

Beethoven.

[This unprinted letter has only been taken from a copy among
the archives of B. and H. La Mara, in her " imprinted Letters
of Beethoven," which have been printed as manuscript, has the
following notice of the firm on that copy : " On December 21,
1833, we sent the original to the attorney Wilke, at Berlin, in order
to prove our proprietorship in the action against Schlesinger."
So then there was an action against the music firm with regard to
the Egmont music. With regard to the other works mentioned,
see comments to Letter CCX.]

CCXVIII To von ZMESKALL

[9th July, 1810]

Dear Z.! You travel, I shall have to travel also and that
for the sake of my health. Meanwhile everything is at
sixes and sevens with me. The Master wants me, Art no
less ; I am half in Schönbrunn, half here ; every day brings
new inquiries from strangers, new acquaintances, new
connections, even in regard to art ; I sometimes feel I shall
become half mad about my undeserved reputation ; fortune
seeks me and on that account I almost feel in dread of
a new misfortune. As regards your Iphigenia the matter
stands thus : I have not seen it for at least two and a half
years ; I have lent it to some one, but to whom (?) that is the
great question, I have sent here and there but have not
discovered it ; I hope, however, to ferret it out ; if it is lost
you shall be indemnified. Farewell, dear Z. ; when we see
each other again, you will, I hope, find that my art during
that time has been progressing.

Remain my friend, as I yours.

Beethoven.

[According to the original manuscript in the Royal Imperial
Court Library, Vienna ; first printed by Nohl. This is the first
letter in which Beethoven himself speaks about his wonderful
summer residence in the beautiful Schönbrunn, near Vienna.
There he had his dear trouble, to initiate his master, the Archduke
Rudolph, into the secrets of composition.]

194 BEETHOVENS LETTERS

CCXIX To GEORGE THOMSON, Edinburgh

" Vienne le 17 Juillet 1810.
Monsieur !

Voilä, Monsieur, les airs ecossais dont j'ai compose la
plus grande partie con amore, voulant donner une marque
de mon estime ä la nation Ecossaise et Anglaise en cultivant
leurs chants nationaux. — Pour ce qui regarde les repetitions
dans les airs que j'ai composes ä deux parties, vous n'avez
qu'ä les omettre ä votre gre, et ä faire les airs senza replica. —
Come j'ignorais, si Tun ou l'autre de ces airs avait plusieurs
couplets ou non, il m'a fallu les composer de maniere qu'on
put les repeter au besoin ; ainsi c'est ä vous , d'arranger la
chose, et de laisser les repetitions dans les airs qui out plusieurs
couplets ou de les omettre dans les airs qui n'en ont qu'un
seul. — Je voudrais bien avoir les paroles de ces airs ecossais
pour en faire usage en allemagne des que vous les aurez
publies en Ecosse — Vous pourriez meme me les faire parvenir
des ä present ; je les ferai traduire, et j'attendrais la nouvelle
de la publication faite en Ecosse.

Je vous prirois de m'envoyer les paroles notees sur la
simple melodie.

Quant aux trois quintors et trois sonates, j'accepte votre
proposition, et j'espere qu'ils seront ä entiere satisfaction.
Vous pourrez me faire payer les cent vingt livres sterling ou
les deux cent quarante ducats en espece en deux termes ; moite,
lorsque je delivrerai les 3 sonates aut vice versa.

A l'egard des airs avec paroles anglaises, je les ferai ä
tres bas prix, pour vous temoigner, que je suis porte a vous
servir, c'est pourquoi je ne demande que vingt livres sterling,
ou quarante ducats en espece pour ces airs — je ne pourrois
les composer ä moindre prix sans perdre, car on me donne
ici d'avantage pour douze airs avec paroles allemandes, qui
ne me font point de difficulty par la langue, au lieu qu'il me
faut faire traduire les paroles angloises, faire des observations
sur la prononciation, et qu'avec tout cela je suis toujours
gene.

Par ce qui regarde enfin le terme apres lequel je pourrais
disposer de ces ouvrages en allemagne, je crois que six mois
pour les quintors et les sonates, et trois miois pour les airs
ä compter du jour ou vous les aurez eu publies en Ecosse,
suffiraient.

Je vous prie cependant, de m'ecrire la dessus.

BEETHOVENS LETTERS 195

Agreez, Monsieur, les assurances de la plus parfaite
consideratien avec laquelle j'ai l'honneur d'etre,

Monsieur
Votre tres-obeissant

serviteur
Louis van Beethoven."
" P.S. Je ne veux pas manquer de
vous avertir que je viens de toucher
la some de cent cinquante ducats
pour cinquante trois airs Ecossais
che le banquier Fries.

Plusieurs de mes simphonies sont
arrangees en quatuors ou quintuors ;
si ces pieces arrangees vous con-
viennent, jem'empresserais de vous

les envoyer

NB. quand on prend Vultima volta

dans les airs Ecossais, on laisse

12 3 etc. volta c'est ä dire on
ne sonne pas toute la mesure de

12 3 etc. volta, si ce n'est pas
assez clair pour notre pays, il faut
que vous faites ä un autre maniere."

[According to autograph in the British Museum. Of the
melodies sent by Thomson to the master, more were Irish than
Scotch, but as Thayer remarks " for Beethoven everything was
Scotch."]

CCXX To BETTINA BRENTANO

Vienna, 11th August, 1810.
Dearest Bettina [Friend !]

No finer spring than the present one, I say that and
also feel it, because I have made your acquaintance. You
yourself have probably seen that in society I am like a frog
[fish] on the sand, which turns round and round, and cannot
get away until a well-wishing Galatea puts him again into
the mighty sea. Yes, I was quite out of my element, dearest
Bettina, I was surprised by you at a moment when ill-humour
was quite master of me, but it actually disappeared at
sight of you. I at once perceived that you belonged to
a different world from this absurd one, to which with the

196 BEETHOVENS LETTERS

best will one cannot open one's ears. I myself am a wretched
man and yet complain of others ! — You will surely forgive
me, with your good heart, which is seen in your eyes, and
with your intelligence, which lies in your ears : — at least
your ears know how to flatter when they listen. My ears,
unfortunately, are a barrier wall through which I cannot
easily hold friendly communication with men. Else ! —
perhaps ! — I should have had more confidence in you. So
I could only understand the great, intelligent look of your
eyes, which so impressed me that I can never forget it.
Dear Bettina [friend], beloved maiden ! — art ! — Who under-
stands it, with whom can one speak concerning this great
goddess ! — How dear to me were the few days when we
gossiped or rather corresponded together ; I have kept
all the little notes on which stand your clever, dear, very
dear answers. So I have at any rate to thank my bad
hearing that the best part of these fleeting conversations
has been noted down. Since you went away I have had
vexatious hours, hours of darkness, in which one can do
nothing; after your departure I roamed about for full three
hours in the Schönbrunner Alley, also on the ramparts ;
but no angel met me who could take such hold on me as you,
angel — forgive, dearest Bettina [friend], this digression from
the key ; I must have such intervals in order to give vent to
my feelings. Then you have written, have you not, to
Goethe about me ? — I would willingly hide my head in a
sack, so as to hear and see nothing of what is going on in
the world, because you, dearest angel, will not meet me.
But I shall surely receive a letter from you ? — Hope nourishes
me, it nourishes indeed half the world, and I have had it
as my neighbour all my life ; what otherwise would have
become of me ? — I here send written with my own hand,
" Kennst du das Land " in remembrance of the hour in which
I made your acquaintance. I also send the other which I
have composed since I parted from you dear, dearest heart ! —

Herz mein Herz was soll das geben,

Was bedränget dich so sehr;
Welch ein fremdes, neues Leben

Ich erkenne dich nicht mehr.

Yes, dearest Bettina [friend], send me an answer, write
to me what will happen to me since my heart has become
such a rebel. Write to your most faithful friend,

Beethoven.

BEETHOVENS LETTERS 197

[According to the Nürnberger Athenäum für Wissenschaft,
Kunst und Leben of the year 1839, in which the Bettina letters
first appeared. Herewith is given a faithful reproduction of this
highly important letter. I have been enabled to do so through the
kindness of the lecturer on science, Dr. Leopold Hirschberg, who
possesses the Athenäum, of which there is no copy in our royal
library. The heading of the article is as follows : " Drei Briefe von
Beethoven," and in parenthesis : " (by permission of the pro-
prietor )" Bettina von Arnim herself published the three much
disputed letters of Beethoven to her in her wonderful book " Ilius
Pamphilius und die Ambrosia" (1848 and 1857). The slight
differences of text in the second edition are noted above in square
brackets. These important utterances of Beethoven's genius
have been reproduced hundreds of times and have produced whole
volumes of literature. Are they genuine or otherwise ? That, to
a certain extent, is still a question under discussion. Since, how-
ever, the second of these letters belonging to the year 1811 has
appeared in facsimile, the genuineness of at least one of the letters
can no longer be in dispute. I shall have more to say about all
of them when I come to the third, belonging to the year 1812.
Already, in my article, " Beethoven und die Sibylle der romantischen
Literatur," published in 1886 in Der Klavier- Lehr er, I re-
marked " that these letters, taken as a whole, were probably
written by Beethoven, but that possibly the genial authoress is
responsible for a few interpolations." The passion of Beethoven
for Bettina in the year 1810 is evident, so that no one can seriously
believe that just in this very year Beethoven could still be occupied
with plans of marriage with the " immortal beloved one."]

CCXXI To BREITKOPF and HAERTEL, Leipzig

Baden, on 21st summer-month [August]

of 1810.

The enclosed letter is written to you by one of my friends,
and I add to it my comments — with Paris or France I have
not entered into any agreement with regard to all these
works, as indeed the receipt will make clear to you, as soon
as you have received everything from me and I from you —
There can be no question of a copy on the Continent, I scarcely
believe it at all likely that these works have already arrived
in London, for the blockade is now stricter than ever, and the
English have to pay very heavily even for letters to Germany,
and much dearer for heavy parcels — in short I am convinced
that still in September not a note of the works sent to you will

198 BEETHOVENS LETTERS

have appeared in print — for the rest set out what you would
give me for a concerto, a quartet, &c, and then you will
certainly be able to see that 250 ducats is a small fee. At a time
when bank-notes were almost equal in value to silver or gold,
I received 100 ducats for three Sonatas. N.B. — You your-
self have given me for a quintet 50 ducats — am I to go back-
wards instead of forwards, for I really hope that that reproach
will not be made about my art-work. However many guldens
a ducat may be worth with us, there is no gain, for we now
pay 30 fl. for a pair of boots, 160,* also 70 fl. for a coat, &c,
the deuce take economy in music. My 4000 fl. last year,
before the French came, were something, this year they are
not even worth 1000 fl. in convention coin — I do not intend,
as you think, to become a musical usurer, who only writes
to become rich. Certainly not, yet I love an independent
life, and I cannot have this without a small fortune ; and
then the honorarium itself must bring some honour to the
artist, as indeed to all that he undertakes. I would not dare
to tell any one that Breitkopf and Haertel gave me 200
ducats for these works — you as a more humane being, and
a more cultured head than all the other publishers of music,
ought not to pay poor terms to the artist, but rather help
him on the road to accomplish undisturbed what is in him,
and what one expects from him. It is no boast, if I tell you,
that I give you the preference before all others. I have
often been approached from Leipzig, and here also by others
who from there had full authority, and lately, personally,
by one who offered me what I chose to ask. I have, however,
refused all offers in order to show you that I would rather,
owing to your cleverness (of your heart I know nothing),
deal with you, and would even rather lose something so as
to preserve this connection. But I cannot take anything
less from you than 250 ducats, I should lose too much, and
this you cannot surely desire — so you have my last word.
Now as regards the works to be published. It was impos-
sible for me to write to you about the dedications, viz.,
the violin quartet to Prince Lobkowitz — from another work
you can see what his unmusical titles are — the Sonata in
F sharp A Madame la Comtesse Therese Brunswick ;
the Fantasia for pianoforte only A mon ami Monsieur le
Comte Francois de Brunswick, and the six Ariettas to Princess
Kynsky, nee Countess Kerpen. As regards the two Sonatas,
publish them separately, or if you wish to publish them

* Beethoven probably meant to write 60.

BEETHOVENS LETTERS 199

together, then put the dedication on the first in G major,
Sonate facile or Sonatine, which you can also do in case you
publish them together. With regard to the violin quartet,
I remind you that the turning over should be comfortable ;
then still add to the superscription of the second piece : adagio
ma non troppo — and § measure to the third piece in C minor
after the major piü presto quasi prestissimo, where the minor
key again comes in. The first time the first part is to be
repeated as indicated ; on the other hand, the repeat marks
given to the second part must be taken away, so that the second
part will only be played once.

In the Song of the Flea from Faust, if my remarks are
not clear to you, you have only to look it up in Goethe's
Faust, or send me only the melody so that I can look through
it. The last number of the last works which you are publish-
ing may serve to you as a guide how to number these works
properly — the quartet is earlier than the others — the concerto
is still earlier than the quartet, if you wish to number them
chronologically, but as both belong to the same year it is not
really necessary — and please take note that in the quartet,
in the third movement in C minor where the piu presto quasi
prestissimo begins, an N.B. has still to be marked, namely,
so : N.B. Si ha s'immaginar la battuta di 6/8 — for the rest,
as I know that however correct the manuscript may be,
there are sure to be misunderstandings, I really wish to see
the proofs beforehand so that your beautiful editions may
profit thereby. At the same time I want four copies of each
work for myself. I give you my word of honour that I will
never sell any of them, but here and there there is a poor
musician to whom I would willingly offer one ; they are
meant for that. When are the Mass, the Oratorio, the Opera
to be brought to light ? — please write to me the titles of the
songs which you have received, for I do not remember
which I have already sent you ; you may receive some
which will not be published in London — You will now soon
have received all that belongs to the second lot with exception
of three songs ; for these I am waiting until you have sent
me the titles of those which you already have — in a few days
everything belonging to the third lot will be sent off, but I
am still waiting for an answer from you — the concerto is
to be dedicated to the Archduke R. and has merely the title
" Grand Concerto dedicated to His Imperial Highness the
Archduke Rudolph of, &c." Egmont also to him ; as soon as
you have received the score you will at once see what use

200 BEETHOVENS LETTERS

to make of it, and how to draw the attention of the
public to it — I wrote it simply out of love for the poet, and
in order to show this, I took nothing for it from the theatre
managers, which you even accepted ; and as a reward, as
always . . . they treated my music very carelessly.

There is nothing smaller than our great folk, but I make an
exception of the Archdukes — Tell me your opinion with
regard to a complete edition of my works ; the great diffi-
culty seems to me this, that I should suffer as regards the
disposing of the quite new works which I am constantly
producing. My friend writes, with regard to Paris, about a
copy in the National Library, and this is how the matter
stands : a French publisher himself wrote to me that the law-
suit with Pleyel, &c, arose because he had forgotten to send a
copy to the National Library : but now everything is all
right and clear.

For Vienna you would probably have to adopt another
course ; perhaps I may manage so that my works which are
printed abroad can never be reprinted here in loco.

In Egmont indicate everywhere in the violin part where
other instruments come in, as for example in the funeral
music after Clara's death where the kettledrum comes in, etc.

rr^zrg— etc. This is necessary in a century in which

we have no longer any conservatoires, hence no more
directors ; there is no training whatever, but everything
is left to chance. We have, however, money for a castrato,
whereby art wins nothing, but it tickles the taste of our
blase folk, our so-called nobility. For the Fantasia with chorus
you could perhaps also include the vocal parts in the piano
score. You may wish to print another text, as the text like the
music was written very quickly so that I could not even write
out a score. Still with another set of words I want the word
kraft to be kept or one very similar to it in its place — satis
est. You have received a good portion, keep what you want
of it, for I am glad that everything is there, as I do not care
to write about such things — I hope very soon to receive
from you one of your intelligently written letters — and
remain with esteem,

Your most faithful friend and servant,

Beethoven.
Letters to me, as usual, to Vienna.

BEETHOVENS LETTERS 201

[According to the original manuscript in the possession of the
publishing firm of Breitkopf and Härtel, of Leipzig ; not printed.
With regard to the works mentioned which were all published by
B. and H., sufficient has been said in Letter CCX, to the same
firm. The Song of the Flea, with its drastico-comic tone-painting,
appeared as No. 3 of the "Six Songs" (Op. 75). Beethoven writes
that he composed Egmont out of love to the poet, and took nothing
from the theatre management for it, and the same thing is to be
found in the second letter to Bettina Brentano of February 10,
1811. In the present letter there is a passage which gives a key
to the mysterious tone of devotion in which Beethoven referred
to the Archduke Rudolph. The enclosed letter from a friend
speaks about a complete edition of the works of Beethoven, and
the master is informed that in France a work can be protected
against reprint if a copy be sent to the National Library. The
composer's verdict against castrati deserves all praise. At the
Italian Opera, — not only in Italy, but also in Vienna, Berlin, Dres-
den, etc., they exercised great influence in Beethoven's time and
still later ; one need only recall Sahmbeni,Cassarelli, and Crescentini,
who, indeed, in Beethoven's time, in 1803, was singing master to
the Imperial family. The words to the choral Fantasia, which,
according to the master's assurance, were written in a very short
time, were by Christopher Kuffner. The poet is not named here,
neither in the printed edition of the score by B. and H. The
word " Kraft," as Beethoven specially wished, was actually re-
tained ; it is treated in grand style in the music.

CCXXII To BREITKOPF and HAERTEL

[21st August, 1810]
P.S.

Finding your letter written a fairly long time ago, I notice
a passage in which you say, " To the other numbers of the
oratorio there are trombones, to the chorus they are however
wanting, also the trumpets and drums " but you do not say
which chorus. I should be very glad if you could at once
give me an answer about this ; if the parts are not to be
found, I must look up the matter for publication — but do
please write and tell me which of the three works you intend
to publish first — I wished formerly to send you another organ
part, meanwhile I was pressed in so many directions, that it
was impossible for me ; if there is still time I would send it
to you — I have still found the following faults in the Sym-
phony in C minor, namely, in the third movement in f time,

202

BEETHOVENS LETTERS

where after the major the minor again comes in. It stands
thus. I give the bass part, namely :

(10)

3Zt

The two bars above which is marked the X * are redundant,
and must be struck out, and of course in all the other parts
which are silent.

[According to the original manuscript in the possession of the music
publishers, Breitkopf and Haertel. This appendix to the previous
very long letter has acquired world-wide celebrity. Mendelssohn
first drew attention to the mistake in the Scherzo of the C minor
Symphony here noted. That took place in the year 1846 at the
Lower Rhenish Musical Festival at Aix-la-Chapelle, for he ap-
pealed to a letter of Beethoven sent to the publishers B. and H.,
in which the master himself drew attention to the two superfluous
bars in the Scherzo. The firm then inserted in their Allgemeine
Musikalische Zeitung of July 1846, a correction as follows :
" In comparing our edition with the original manuscript of the
score of Beethoven's Symphony in C minor, doubt arose about a
passage in the third movement, namely, about the second and
third bars of page 108 of the printed score. Hence we felt induced
to look through Beethoven's letters sent to us, and amongst them
we found one of the 21st August, 1810, with full explanation of this
matter. We therefore give in facsimile the portion of it belonging
to this matter."

The publishers remark : " The matter itself needs no explanation,
but the fault in printing arose from the fact, according to the
original MS., that Beethoven had the intention, as in many other
Symphonies, to repeat the minor three times and the major twice.
Hence in the MS., the bars struck out in the letter are marked
with 1, and the two following with 2. This, as well as the mark
written above in red pencil, ' Si replica con Trio allora ' was
overlooked in printing." I will here point to the long article in
Anton Schindler's Biography of Beethoven which appeared as
Supplement " G." Evidently Schindler had not seen the facsimile
of the Beethoven letter, for he writes : " The existence of the
Beethoven letter to the publisher of the work — very probably in
the year 1809 (? ? !) ought not to be called in question, as has
happened in many cases ; the same ought to be published in
facsimile." So in the year 1860, when Schindler wrote this, he
did not even know that the facsimile had appeared in the Leipzig

* This cross is not in the manuscript over the two bars to be struck out ; but
the lines are drawn through both bars.

BEETHOVENS LETTERS

203

Allgemeine Musikalische Zeitung already in the year 1846. For
the rest, the Schindler article contains much that is interesting.]

fi 9

d °

« w

O K

204 BEETHOVENS LETTERS

CCXXIII To BREITKOPF and HAERTEL

Baden the 23rd September (1810).

I have been expecting a letter from you for a long time,
but in vain. On the 1st of August I had a letter from Leipzig
in your name, in which I was informed that you were not
there. Since the time that I wrote you a terribly long
letter, I have had no answer, and yet I want one — I could not
really send you the songs belonging to the second lot because,
owing to the hurry, I do not know what I have already sent.
Of the third lot there is only the great characteristic Sonata
and the Italian songs which are ready ; all the rest you must
have received — I therefore await a satisfactory answer —
owing to the state of our post and of other matters, I must
beg you, together with my address, to put another cover
round it addressed as follows : to be delivered to Herr Oliva
at Ofenheim and Herz's in the Peasants' Market — as I am
seldom in Vienna during the summer and autumn, this is
the safest plan — I hope soon to hear from you.

Yours very faithfully,

Beethoven.

[According to the Allg. Mus. Zeitung (1874, New Series). The
songs named were the Goethe-Lieder (Op. 83), published by B.
and H. in 1811; the Italian were the "Vier Anetten und ein
Duett " published by the same firm in 1811. The " terribly long
letter " referred to by Beethoven is No. CCXXI of this edition.]

CCXXIV To BREITKOPF and HAERTL

Baden the 6th autumn month, 1810.

As I see that the little change which I mentioned in my
last long letter will perhaps not be understood, I will write out
the third piece in small notes, only the violin part so that there
can be no confusion, and I will send it on thin paper by letter
post so that no delay will arise — for the other works it would
be best, in order to have them correct, if you would at least
first send proofs with my manuscript ; if then there were
any faults I would find them out, and you then would at
once correct them.

I cannot explain myself further^ about all other matters
as the time is too short.

BEETHOVENS LETTERS 205

To-morrow or the next day you will receive the copied
piece with the other things about which I have to give
answers. Farewell,

Your most devoted friend,

Beethoven.

[According to the original manuscript in the possession of
C. Meinert, Frankfort. Beethoven mentions once more his " last
long letter " (Letter CCXXI) which consisted of twelve quarto
pages.]

CCXXV To BREITKOPF and HAERTEL

Vienna the 11th autumn month (1810).

Ludwig van Beethoven.
It is an awful lie that Cavalry- Captain Reissig ever
paid anything for my compositions ; I composed them for
him out of friendship, because he was then a cripple, and
excited my pity — in writing this I declare that Breit-
kopf and Haertel are the only owners of those songs which
I sent to him, and of which the poetry is by Cavalry- Captain
Reissig.

[According to the original manuscript in the possession of the
music publishers, B. and H., of Leipzig ; unprinted. Concerning
the settings of Reissig' s poems see explanations to Letter CXCIL]

CCXXVI To BREITKOPF and HAERTEL

Vienna the 15th autumn month (1810).
My dear Sir !

Here is the explanation of the delay with the quartet. You
see that it is only just this, that while the minor for the first
time after the major is to be repeated, the first part of the minor
twice ; the second part, however, is only to be played once, that
is, without repetition. As to the song from Faust, I cannot
oblige you, for I have not got a copy of it — the first thing is
that all the stanzas must be written out, not in abbreviated
form as I have done ; the safest way would be for you to
send me the upper stave of the pianoforte part on a little
sheet of paper with the vocal part as you print it, and I shall
at once see if it is right.

In the 2nd adagio of the quartet I made some remark
about the tempo, but that has been attended to — Take heed,
and yield to my oft-expressed wish that you should send a

206 BEETHOVENS LETTERS

proof, but also the manuscript. Complaints are being made
about the printing errors, and I have noticed that even the
clearest writing can be misinterpreted — we recently went
through the 4-part songs and other things of Haiden which
you have published, and found incredible faults, and many
of them — Has what I said about the two redundant bars
in the symphony, been seen to ? I have a faint remembrance
that you asked me something about this, but perhaps I forgot
to answer you at once, and so they were not cut out.

The reason I want the manuscripts with the proof copies,
is that I have scarcely any ; for here and there some good
friend asks for one, as, for instance, the archduke for the score
of concerto, and they are never returned. Although convinced,
that this time the manuscripts are as correct as, humanly
speaking, possible, yet I do beg you not to risk anything
with the terzets and other things. Besides, it is unpleasant
for an author to know that there are mistakes in his work. —
N.B. If Sieges Simphonie is not written over the last number
in Egmont, see that it is put there. Hurry on with it, and
please let me know when you have quite done with the
original score, because I will then ask you to send it,
from Leipzig, to Goethe, to whom I have already written
about its coming. I hope you will have no objection to this,
since you are probably as great an admirer of him as I
myself am. I would have sent him a copy from here, but
as I have no trained copyist on whom I can quite rely, and
only the torture of looking over the copy is certain, I thought
it the better course, and a saving of time for me. Here is
the heading for the variations : Veränderungen Seinem
Freunde Oliva gewidmet von, etc. In a few days you will
receive the organ part of the Mass and the trombones for
the oratorio. It ought to be possible to get a German text for
the Mass which agrees better with the music. The opera lenore,
dedicated to my friend Stefan von Breuning, Imperial Court
Secretary and Military Councillor, by the composer Ludwig,
etc. The Mass to Herr von Zmeskall, nb., here must follow
some additions which I do not remember for the moment.
The lieder to Ihrer Durchlaucht der Frau Fürstin Kynsky,
gebohrne Frejin von Kerpen — you must add " ich denke
dein " to this collection. I have seen it printed separately,
and even here a wrong mordent introduced somewhere ; as
I have not a copy, I cannot remember in which bar. One
other thing : you must at once publish the " Gesang aus
der Ferne," which I once sent to you, if you have not already

BEETHOVENS LETTERS 207

done so. The poetry is by that rascal Reissig. Formerly
it had not appeared in print ; and it was not until; nearly
six months later, that this rascal declared, thats " only
for his friends " had he given it to Artaria to print. I sent
it to you by letter-post, but received no thanks for it.
The 50 ducats may have arrived, but I had not yet returned,
and the postman would not deliver them to any one else.
I will at once make inquiry. By next post go off all the
other compositions which I have to send you. So you
can forward me the remaining 100 ducats, plus 30 thalers
in convention-coin, seeing that in your first letter you at
once offered me scores to the amount of 80 thalers, and your-
selves reduced it, according to the notice to Traeg, to only
50. I will certainly take scores to the amount of 50 thalers,
but I beg you to send an order for the 30 in gold to me here.
Also, as I have already given you many trifles gratis, for
which you formerly offered to send me the Musik Zeitung
and some scores, you might at least let me have the Musik
Zeitung which according to your letters has been more
than once on the way. Then I would like to have all the
works of Karl Philip Emanuel Bach, all of which you actually
publish, also a Mass by J. Sebastian Bach in which there
is the following Crucificcus with a Basso ostinato, very like
yourselves, viz.,

fed

BO ■ ■, ' ? * — j^fr — »— \

# — / . i I I i I -*■ ! -**:

jfcgfflf« d_^L

Then you must have the best copy of Bach's tempered Clavier,
and this I also beg you to send me. Here you have the
ultimatum, to which I adhere. I will then give the document
concerning ownership — nevertheless I shall never venture
to disclose what I receive. As regards the edition of all my
works, this must be carefully considered, and then I will
explain myself in detail — Satis est, I hope. Pay attention
to all I have set out in writing. Farewell, and let me have a
speedy answer,

your

most devoted

servant and friend,

Beethoven.

208 BEETHOVENS LETTERS

[In the possession of the B. and H. firm. One of Beethoven's
longest letters : twelve quarto pages. The passage in which
Beethoven again pleads for the striking out of the two bars in the
symphony, deserves special notice. Cf. this letter with CCXXII
and the explanations. The dedications named were altered. To
Stefan von Breuning had been dedicated Op. 61 ; now in recognition
of his friendly services in obtaining the certificate of baptism, and
of his enthusiasm re Fidelio, Beethoven wanted to dedicate this
opera to him ; nothing, however, came of it. Neither was the
Mass dedicated to Zmeskall, but to Prince Kynsky. Reissig must
have deeply transgressed as he is so censured by the master. The
song mentioned was published by B. and H. in 1810. Beethoven
by " very like yourselves " illustrates musically the obstinacy of
the firm in sticking to their terms.]

CCXXVII To BAUMEISTER

Monday, 3rd Xber.
[December].
Dear Sir,

I beg you, Herr von Baumeister, to offer my apology to
His Serene Highness, if I do not come to-day. For several
days I have suffered from headache, and to-day worse than
ever. I hope, however, that I shall be better to-morrow,
and then, in the evening, will certainly wait on His Serene
Highness,

With respect,

Your most devoted
servant,

Ludwig van Beethoven.

[According to the original manuscript in the Gesellschaft der
Musikfreunde, Vienna, " Headache for some days," plays not a
small role in the correspondence of the composer with his princely
friend and pupil, as excuse to be relieved from the unpleasant
lessons.]

CCXXVIII To BETTINA V. BRENTANO

Vienna, February 10, 1811.
Dear, dear Bettine !

I have already two letters from you, and from your
letter to Toni I perceive that you still keep me in remem-
brance, also that your opinion of me is far too favourable —
I carried your first letter about with me the whole summer,
and it was often a source of happiness. If I do not write

BEETHOVENS LETTERS 209

to you frequently, still I write to you 1000, 1000 times a
thousand letters in my thoughts. Even if I had not read
about you, I could easily imagine to myself how you feel
in the rotten society in Berlin : talking, chattering about art
without deeds ! ! ! ! The best description of it is to be found
in Schiller's poem " Die Flüsse," in which the Spree speaks.
Dear Bettina, you are going to be, or are already married,
and I have not been able to see you once beforehand. May all
good wishes wherewith marriage blesses married folk attend
you and your husband. What then shall I say for myself:
" Pity my fate," I exclaim with Johanna ; if I live still a few
years, also for this and for all other weal and woe, will I thank
the Highest who encompasses all things. When you write to
Goethe about me, select all words which will express to him
my inmost reverence and admiration. I am just on the
point of writing to him about Egmont, to which I have written
the music, and indeed purely out of love for his poems which
cause me happiness. Who can be sufficiently thankful for
a great poet, the richest jewel of a nation ? And now, no
more, dear good B. ; I only came back from a bacchanalian
festival at four o'clock this morning, at which, indeed, I
was forced to laugh a great deal, with the result that I have
to weep almost as much to-day. Noisy joy often drives me
powerfully back into myself. Many thanks to Clemens for
his kindness. As regards the cantata, the matter is not
of sufficient importance for us here — it is different, however,
in Berlin. In the matter of affection, the sister has such a
large share of it, that there is not much left for the brother ;
don't you think that is sufficient for him ? Now, farewell,
dear, dear B. ; I kiss you [here follows something thickly
scratched out] on your forehead, imprinting on it, as with a
seal, all my thoughts for you. Write soon, soon, frequently
to your Friend,

Beethoven.
[On the address side.] Beethoven lives on the Mölker
Bastej in Pascolati's house.

[Address in a foreign hand] from Vienna

To
Fräulein Bettina v. Brentano,
Visconti Laroche,
in
Care of H. v. Savigny, Berlin.

Monbijou-Platz, No. 1.

210 BEETHOVENS LETTERS

[The original autograph was (still in 1902) in the possession of
Pastor Nathusius of Quedlinburg. A facsimile appeared in the
Beethoven biography, 5th edition, by A. B. Marx (Behncke), Berlin,
1902. This is a genuine letter, and by it the other two to Bettina
ought to be judged. The lines from Schiller's poem which Beethoven
had in his mind are the following, in which the " Spree " says :

" Sprache gab mir einst Ramler und Stoff mein Cäsar ; da nahm
ich Meinen Mund etwas voll, aber ich schweige seitdem."

" Toni " is Antonie Brentano, wife of Franz Brentano ; both
great, truly noble-hearted benefactors of Beethoven.

The words in the letter are not quite correctly quoted by Beet-
hoven. He was probably thinking of what Johanna says to Agnes
Sorel : " Beldage mich ! Beweine mein Geschick " (Act IV.
Sc. 2), i.e., " Pity me, feel compassion for my fate." — Bettina's
brother, Clemens v. Brentano, was likewise on friendly terms with
Beethoven when in Vienna about the year 1805. The cantata on
the " Tod Ihrer Königlichen Majestät von Preussen," in Brentano's
handwriting, is among the Beethoven documents bequeathed by
Schindler to the Royal Library at Berlin. It is possible that Beet-
hoven may have had something to do with the music of this cantata
(V. " Clemens Brentanos Beziehungen zu Beethoven " by A. Chr.
Kalischer, in Sauer's " Euphorion," June 1895).]

CCXXIX To BREITKOPF and HAERTEL, Leipzig

Vienna, 19th February, 1811.
P.P.,

If you insist upon it, I really will send you the organ part —
answer at once. You do not write and say whether the Mass
and oratorio are going to be published in score, and when ?

Here the desired receipt — I willingly thank Dr. Schreiber
for his translations.

That you send the Fantasia for correction, and indeed
should always act thus, is right, send however the second or
third revise, it shall be returned very quickly. I am waiting
for the Musikalische Zeitung and will draw up a certificate
that you have made me a present of it I ! ! ! ! The devil take
Riotte's other worthless stuff. The question about the numbers
Op. 40, &c. &c, cannot be quickly answered, for with exception
of my works which you lately sent me, I have not a note —
if the poems which you are going to send me are musical and
also poetic, I will condescend to set them to music.

[According to the original manuscript in the possession of the
music publishers, B. and H. ; not printed. The desired organ part was

BEETHOVENS LETTERS 211

the one to the first Mass which was published by B. and H., in
1812. The mentioned translations by Schreiber concerned the
altered text for the Mass, perhaps also the French Ariettas. Dr.
Schreiber, born in 1761, was Professor of /Esthetics at the Heidelberg
University. He died in 1841 at Baden-Baden. He composed
various opera librettos, " Die Harfe," " Die Zauberharfe,'" &c.
His book on aesthetics contains a special section about music.
Riotte was a younger contemporary of the composer ; he was born
at Treves in 1776, was afterwards conductor at Prague, then
at Vienna at the theatre " An der Wien," and died at an advanced
age at Vienna in 1856. He composed operas, operettas, ballets
and instrumental works. B. and H. published various works of
his — a symphony and a pianoforte concerto. These were probably
the compositions on which Beethoven let fall his unfavourable
verdict.]

CCXXX To the COUNTESS VON ERDÖDY

[March 1811]
My dear worthy Countess !

With much pleasure have I received your last lines ; for
the moment I cannot however answer your dear letter fully —
as regards the Trio you have only to let me know whether
you wish to see to its being copied at your house or whether
I shall undertake it ? either will suit me, and what is most con-
venient to you will be most agreeable to me. Herr Linke
who has something good for his concert to-morrow, is in
a hurry. Hence only all kind messages to you and your
children. I will seize the very next opportunity to be with
you all ; till then farewell, dear Worthy Countess.

Your true

friend,

Beethoven.

[According to Jahn's copy in the Berlin Royal Library. The
letter refers to Beethoven's latest Trio in B flat (Op. 97), dedicated
to the Archduke, and published by Steiner and Co., at Vienna, in
1816. {See Letter CC XXXIV and explanations).]

CCXXXI To the ARCHDUKE RUDOLPH

[March 1811
Your Imperial Highness !

Please be kind enough to let me have the Trio in B flat
with the parts, also the Violin Sonata in G, both parts,

212 BEETHOVEN'S LETTERS

for I want to have them quickly copied for myself, as I
cannot at once find them amongst my many other scores — I
hope that the bad weather will not have bad influence on
the health of Y.I.H. ; it however always brings me a little
out of time — at latest in three or four days I shall have
the honour of returning you both works.

Your Imperial Highness's most obedient

Ludwig van Beethoven.
Do the musical pauses still continue ?

[According to the original manuscript in the possession of the
Gesellschaft der Musikfreunde, Vienna.]

CCXXXII To the Same

[March 1811]
Your Imperial Highness !

Already for more than a fortnight I have been again
plagued with headache. I kept on hoping that it would
get better, but in vain. Now, however, with the better
weather, my doctor promises me speedy improvement. As
every day I thought it would be the last of my complaint,
I said nothing about it, and especially as I thought that as
Y.I.H. had not sent for me for so long, you did not want me
— during the festivities of the Princess of Baden, and on account
of the bad finger of Y.I.H. — so I began to work diligently
at something, and, among other things, a new Trio for
pianoforte is the result. Being very busy, I did not think
that Y.I.H. would be vexed with me, as I almost think
you are. Meanwhile I hope soon to present myself before
your tribunal.

Your Imperial Highness's faithful and
most devoted servant,

Ludwig van Beethoven.

[According to the original manuscript in the possession of the
Gesellschaft der Musikfreunde, Vienna.]

CCXXXIII To the Same

[Spring 1811]
Your Imperial Highness !

As in spite of all trouble I have taken, I could not get a
copyist who would write at my house, I send you my manu-

BEETHOVENS LETTERS 213

script, you need kindly only send to Schlemmer for a proper
copyist who however must copy the Trio only in your palace,
otherwise one is never safe from theft. I am better, and in a
few days I shall again have the honour of waiting on you, and
making up for lost time — I am always terribly anxious
when I am not so zealous, not so often as I wish to be,
with Y.I.H. I am certainly telling the truth when I say,
that it causes me much suffering, but this will not be the
case for long. Hold me graciously in your remembrance.
Times are at hand in which I shall show two-fold and three-
fold that I am worthy of it.

Your Imperial Highness's faithful and
most devoted servant,

Ludwig van Beethoven.

[According to the original manuscript in the possession of the
Royal Library, Vienna. Schlemmer was Beethoven's excellent
copyist for many years.]

CCXXXIV To BREITKOPF and HAERTEL, Leipzig

Vienna, the 12th (?) April 1811.
P. P.,

My friend Oliva brings these lines, I hope you will let him
participate in our friendly relationship, and enjoy pleasant
intercourse with you. For the moment I have only com-
missioned my friend to offer you my new Trio for Piano,
Violin and ''Cello. He has full power to discuss and settle
with you.

Yesterday I received your parcel ; our post, like every-
thing else, has become still dearer ; the bank-notes, however,
are of less value than formerly ; what do you say to our
finance directors ? ? ? ? A deus ex machina must come —
otherwise, there's no hope.

In haste,

Yours,

Beethoven.
The three songs, also the Italian, to the Princess Kinsky
— the Lebewohl and Wiedersehen can only be dedicated to
the Archduke Rudolph.

[There is only a copy of this unprinted letter among the archives
of the B. and H. firm. What has become of the original ? Con-
cerning friend Oliva, to whom the Variations in D major (Op. 66)
were dedicated, mention has already been made. From 1811 to

214 BEETHOVENS LETTERS

1813 he was one of Beethoven's foremost friends. The Trio in
B flat (Op. 97) which Oliva was to show to B. and H., found no
favour in their sight ; it was first published in 1816 by Steiner at
Vienna. In this letter we hear the first complaint of the composer
about the ever-decreasing value of bank-notes. Anton Schindler
introduces this finance misery in the following words : " The
next year, 1811, introduced the calamitous finance patent, by
means of which the nominal value of the gulden was reduced by
one-fifth." Hence Beethoven's annuity of 4000 gulden appeared
reduced to S00 gulden, paper money. The matter, however, was not
quite so bad as it looks. His patrons were gradually persuaded
to pay him the stipulated sums in full in redemption bonds. The
first who set this noble example was the master's friend, the
Archduke Rudolph.]

CCXXXV To BREITKOPF and HAERTEL, Leipzig

Vienna the 6th May [1811].

' P. P. Faults — faults — you yourself are an unparalleled
fault — I shall have to send my copyist, I shall have to come
myself, if I do not want my works to be mere faults — the
Music Tribunal in Leipzig, so it appears to me, cannot produce
a single proper proof-reader ; and then you always send the
works before you have received the corrected proof — at any
rate in important works with other parts, the bars should be
counted, but in the Fantasia, &c, one can see what
happens — in the pianoforte edition of the Egmont Overture
a whole bar is missing. Here is the list of faults.

My warmest thanks for setting in motion a matter
so interesting for me. Farewell, I hope for improvement —
the Fantasia is already gone, and the Sonata goes off to-
morrow'. Make as many faults as you like, leave out
as much as you like — you are still highly esteemed by
me ; that is the way with men, they are esteemed because
they have not made still greater faults.

Your most devoted servant,

Beethoven.

N.B. Notice that in my correction of the concerto, the
first violin part in the first Allegro page 5, line 6, bar 1

(jfo k'b F—M-rw-v-F-1'- the piano is placed above these notes z^^i»

but not under the violin notes.

[According to Thayer (iii. 166), "communicated by Jahn"]

BEETHOVENS LETTERS 215

CCXXXVI To BREITKOPF and HAERTEL, Leipzig

Vienna, the 20th May.

I express my warmest sympathy at your just grief
concerning the death of your wife ; it seems to me that this
parting which happens to almost every husband must restrain
people from entering into wedlock. Your Sonata is also on the
road with the Fantasia. Make out the title, as I wrote it
out, in French and German, not in French alone — and so
with the other titles. See to better proof-reading, complaints
are also being made about the uncomfortable turns — the
misfortune of reprinting here in Vienna ought at any rate to be
got rid of, for I shall sue for a Privilegium forbidding my
works being reprinted in Austria. So long as the present
exchange lasts, you must agree to a lower price — as regards
other countries, or other places, I cannot give any advice —
the corrections which you lately sent off shall be attended to as
soon as I get them — as regards the Trio, there is still time —
what you say about an opera is greatly to be desired, also
the management would pay well for it ; certainly circum-
stances are now unfavourable, but if you write to me, I
will see about getting a poet. I have written to Paris for
books, for successful melodramas, comedies, &c. (for I cannot
trust any poet here to write an original opera), to serve as a
libretto — O poverty of intellect — of purse —

Yours,

Beethoven.

[According to the original manuscript in the possession of the
music publishers, B. and H., Leipzig. We see that in spite of the
lamentations concerning faults, Beethoven is still on good terms
with the publishing firm. With regard to the title to the character-
istic Sonata (Op. 81a) no attention appears to have been paid to
Beethoven's wish, for the title of the original edition which ap-
peared in July 1811, runs thus: " Les Adieux, l'Absence et le
Retour. Sonate pour le Pianoforte composee et dediee ä Son
Altesse Imperiale l'Archiduc Rodolphe d'Autriche, par L. van
Beethoven. Chez Breitkopf & Härtel ä Leipsic. OEuvre 81."
So only in French. Whether the composer, as he states in the
above letter, had really tried to get a privilege against reprinting
of his works in Austria, we cannot say ; anyhow, nothing is known
of a privilege of that kind. The mentioned Trio (Op. 97) in B flat
was not published by this firm. Finally, we perceive here that
Beethoven was seriously thinking of new operas ; the intellectual
poverty of the Viennese poets frightened him, so that he had to
turn to " books from Paris."]

216 BEETHOVENS LETTERS

CCXXXVII To HERR VON BAUMEISTER

28th May 1811.
P. P.,

I beg you earnestly, Herr von Baumeister, just to let me
have to-day my Sonata entitled " Das Lebewohl, Abwesen-
heit, das Widersehn," as I have not got it, and must see
to the corrections.

Mav 28 1811 Your most devoted servant,

Address For Herr von Ludwig van Beethoven.

Baumeister.

[According to the original manuscript in the possession of the
Gesellschaft der Musikfreunde, Vienna ; first printed by Nohl.

CCXXXVIII To N. VON ZMESKALL-DOMANOVECZ

[May 1811]
Dear Zmeskall,

Send me at once your servant, mine is going away to-day,
and I do not yet know whether and when the other comes —
in any case I must have him here for an hour.

Yours in haste,

Beethoven.
Address : Pour Monsieur de Zmeskall.

[According to the original manuscript in the possession of the
Royal Imperial Court Library, Vienna ; first printed by La
Mara. Of the ever-ready friend of the composer, Baron von
Zmeskall, mention has already been made in these letters. After
the year 1813 his services to the master were overshadowed by
those of Nanette Streicher.]

CCXXXIX To the Theatre Poet, FRIEDRICH

TREITSCHKE

[6th June, 1811]

Have you, my worthy Treitschke, read the book, and
may I venture to hope that you feel inclined to work at it ? —
Please answer me about this matter, I am prevented coming
myself to you. If you have already read the book, please
send it me back, so that I may once more look through it
before you begin to work at it — I especially beg you, if it is

BEETHOVENS LETTERS 217

your intention to let me rise aloft on the pinions of your
poetry, to bring this about as soon as possible.

Your most devoted servant,
Ludwig van Beethoven.

[According to the original manuscript in the possession of the
Vienna Court Library ; first printed by Nohl. Georg Friedrich
Treitschke, the dramatic writer, regisseur and entomologist, was
born in 1776 at Leipzig, and died at Vienna in 1842 ; he was one
of the friends and admirers of Beethoven. His connection with
the composer first became of importance in the year 1814, when
Fidelio was revised. But already now, as there were strong,
attempts to induce Beethoven to write a new work for the stage,
we see the composer in correspondence with various poets of Vienna
— especially with his friend, Trietschke. Beethoven had only
recently delivered his flattering verdict on the Viennese poets to
B. and H. "I wiU not trust any of the poets here to write an
original opera" (Letter CCXXXVI) ; there were, however, to be, as
we shall perceive, many attempts with such poets. The above book
to which Beethoven refers in this letter appears to have been the
French melodrama, " Les Ruines de Babylon."]

CCXL To FRIEDRICH VON DRIEBERG

[June 1811]

With pleasure, my dear Drieberg, will I look through
your compositions, and if you think me able to say anything
to you about them, I am heartily ready to do it.

Your most devoted servant,

Beethoven.

I will bring your French books in a few days — Treitschke
already has les ruines.

[According to Nohl. Friedrich von Drieberg, according to
Mendel-Reissmann, was born December 20, 1780, at Charlottenburg.
Music and ancient languages were his special studies. After he
had quitted military service in 1804, he went to Paris for a few
years, and received instruction from Spontini. In 1809 he re-
turned to Vienna. Here the poetically gifted man made ac-
quaintance with Beethoven, before whom, as this note shows, he
placed his own compositions. Drieberg and Treitschke have now
to try and find an opera book which wiU suit the composer. Of
further intercourse of this learned musician and composer
with Beethoven nothing more is known. In 1818 he published
a book on the " Mathematical Theory of Intervals of the Greeks,"

218 BEETHOVEN'S LETTERS

which attracted much notice. We may also mention of his works
the " Dictionary of Greek Music." which he published at Berlin
in 1835, in conjunction with Chladni. Of his compositions we
may name the operas Don Cocagno (?) and Der Sänger und
der Schneider, the latter of which was produced with great success.
D. died at Charlottenburg, May 1856. The opera Don Cocagno
is mentioned in M. von Weber's Life of his father " Don Tacagno,"
and that probably is the more correct title, as Max Maria v. Weber
in his father's life has much to relate about this music specialist
who was on intimate terms with the composer ; in the third
volume of that Life a favourable notice is given of Drieburg's
opera by C. Maria v. Weber.]

CCXLI To COUNT FRANZ VON BRUNSWICK

Vienna, 18th June [1811].

A thousand thanks, my dear friend, for your nectar — and
how can I sufficiently thank you for being willing to travel
with me. It already sets my heart vibrating in sympathy. —
As I would not like anything to be contrary to your wish, I
am bound to tell you that by order of my physician I must
spend two full months at T., and therefore could not go with
you until the middle of August, so you must then journey alone,
or with what you will easily find, if it suits you, some one else.
— I await your friendly decision on this matter. If you
think that returning alone will not suit you, do exactly
what is most convenient to yourself ; however dear you may
be to me, and however pleasant it would be to have you as
travelling companion, I do not wish you to do anything
unpleasant to yourself. Besides, as, even if you go with me,
you must return in the middle of August, I will take my
servant with me, who is really a very orderly dear fellow.
But as it is quite possible that we may not be together in the
same house, you will do well to take yours with you, if you
want him ; I for my part, were I not such a helpless son of
Apollo, should prefer to travel without one. I only beg you to
arrange to be here at latest the 1st or 2nd of July, because
otherwise it will be too late for me, and the physician is
already grumbling at my stopping here so long, although he
himself feels that the society of a dear, kind friend would be
good for me. — Have you a carriage ? — now write to me
quick as lightning your answer, because as soon as I know
whether you are still going with me, I will write about rooms

BEETHOVENS LETTERS 219

for us, as it is sure to be very full there — farewell, my good
dear friend, do send an answer at once and love.

Your true friend,

Beethoven.
My rooms are in the Pasqualati
house on the Mölker bastion 1239
on the 4th storey.

[According to Jahn's copy in his Beethoven Papers in the Royal
Library, Berlin. In regard to the summer journey to Teplitz,
which Beethoven now undertook for reasons of health with his
friend Oliva, Thayer's date, 1811, is probably the correct one. The
thoroughly hearty, friendly tone of this letter makes it appear
almost incredible that the rupture of the engagement with the
Count's sister Therese had taken place only a year before.]

CCXLII To the Private Secretary BAUMEISTER

[Vienna, Wednesday the 3rd July, 1811]
P.P.,

I specially beg you to be kind enough to send me the music
of my most gracious master which was left behind — at the
same time I send you the title of two old works which would
do well for the library of the Archduke. Although the
sale of the Birkenstock library and pictures has not yet
taken place, Herr and Frau von Brentano (nee Birkenstock),
living at the Landstrasse in the Erdbeergasse, would let the
Archduke have these works ; I had already spoken to the
Archduke, when here, about them. You could also now,
if you thought good, communicate with the owners, as I
do not know how such old works are sold.

Your most devoted servant,

Beethoven.

[According to the original manuscript in the possession of the
Gesellschaft der Musikfreunde, Vienna ; first printed by Nohl.
This letter was written at the period in which Beethoven, after
the departure of Bettina from Vienna, was frequently a guest in
the house of the Brentano married couple at Vienna.]

CCXLIII To .FRIEDRICH TREITSCHKE

[3rd July, 1811]
Dear Treitschke !

I have now received the translation of the melodrama,
with a notice from Palfi to settle all necessary matters with

220 BEETHOVENS LETTERS

you ; nothing now hinders you from keeping your promise.
I have now simply to inquire of you whether you really
mean to do so ? so that I may know where I am in the matter.

I have indeed heard that the same piece was formerly
given in the Leopoldstadt, and at our German theatre ; I
think, however, that this will make no difference, since
now, at any rate, it is no longer given. It would be best, I
think, to have recitatives and dances throughout, all the
more as I might give the role of Giafar to Siboni, and it would
be better if he had only to sing, because perhaps he would not
have to speak at all ; the rest by word of mouth.

The translation which Count Palfi sent me, was made by
Castelli for the privileged Wiener Theater, and you will hardly
be able to make any use of it ; but thereby a stop will be put
to all mischief. I was absent for a few days, and that is why
you did not hear from me. Now please tell me whether
you are still inclined to treat this subject as an opera for me ?

In anticipation of a favourable answer,

Your very devoted servant,
{3rd July, 1811.) Beethoven.

[According to the copy among Jahn's Beethoven Papers. From
this letter we learn that in 1811 Beethoven was thinking of a new
opera in which he was to be helped by his friend Treitschke. It
was to be based on the melodrama Les mines de Babylon, of
which we shall presently hear more in a letter written by Beethoven
to the then co-director of the Court Theatre, Count Ferdinand
Palfy. The tenor singer, Giuseppe Siboni, was born in 1782, at
Bologna. During his many art journeys he also visited Vienna,
where, as in Italy, London, &c, he won great triumphs. Later on
he went to Copenhagen, where he died, in 1839. We shall hear
further about this distinguished artist, whom Beethoven named a
" Meistersinger." The poet Ignatz Franz Castelli was on extra-
ordinarily intimate terms with Beethoven ; he was born at Vienna
in 1781 and died there in 1862. From 1811 to 1814 he was poet
attached to the Kärnthernthor Theatre. For the literary and art
history of that time, his book " Memoiren meines Lebens. Gef-
undenes und Empfundenes," is of lasting value. We shall meet
with Castelli again in later letters.]

CCXLIV To COUNT FRANZ VON BRUNSWICK

[Vienna Mh July, 1811]

Friend, I will not take your refusal ; on your account I
let Oliva travel alone, I must have some trustworthy person

BEETHOVENS LETTERS 221

at my side, if everyday life is not to become a burden to
me. I will expect you at latest up to the 12th of this month,
even for my sake, up to the 15th of this month, but for
certain. This is my very last command. Without severe
resentment and punishment this cannot be scoffed at, but
must be strictly obeyed. Herewith keep well, dear faithful
one, whom we pray God in His gracious mercy to take under
His care. Given this morning immediately after rising
from the coffee-table. Vienna, July 4.

Beethoven.

As I do not know how you came by the 'portrait, you
will do best to bring it with you ; for friendship's sake a
sympathetic artist can be found to duplicate it.

We await with six-fold lightning speed no other answer
to our very last command. Yes, Yes, Yes ! sharp — other-
wise anger will come even to Buda. The rest with regard
to the return journey will soon be settled.

[According to Jahn's copy in his Beethoven Papers in the Royal
Library, Berlin ; first printed by Thayer (iii. 175). Also this
letter shows that Beethoven was again weary of his friendship
with Franz Oliva ; he now sought, as he must have " some trust-
worthy person " by his side, all the more to attach to himself his
old trustworthy friend, Franz von Brunswick. Franz Oliva, any-
how, remained one of Beethoven's best friends until after the com-
poser's meeting with Goethe.]

CCXLV To COUNT FERDINAND VON PALFI

[11th July, 1811]
Your Excellency !

I hear that the actor Scholz will give, in a short time, for
his benefit at the theatre An der Wien, the melodrama Les
mines de Babylon, which I wished to write as an opera
and which I have already announced to you. I am not able
to fathom this entanglement ! I presume you know nothing
about it ? Whatever it may be, you may be convinced that
the melodrama given at the Wieden will fill the house five,
even six times ;* as an opera it will become a lasting work, and
certainly, beyond comparison, will bring further mercantile
advantage to your theatre. It is so difficult to find a good
book for this year ; since last year I have returned no fewer

* In another copy (Thayer iii. 172) is added: "The music to it is wretched
stuff."

-±>

222 BEETHOVEN'S LETTERS

than 12 or even more. I have myself paid out of my own
pocket, and yet could not get anything of any use, and now
owing to a benefice for an actor, there will occur for me —
and I assert it boldly — also a malefice for your theatre ? I
hope from your better judgment that you will prevent the
actor Scholz from giving this melodrama, since I, already
earlier, communicated to you my intention of treating it
as an opera ; I was so glad to have found this sujet, that I
myself communicated the fact to the Archduke and also to
many other men of intellect, and every one thought it excel-
lent. I have even written to foreign newspapers to have it in-
serted, to prevent subject being used for an opera elsewhere,
and must I now recall it ? and for such wretched reasons ?

I await, and beg you to send me a speedy answer, so that
I may know how I stand in the matter ; otherwise too
much time will be lost.

Your Excellency's most devoted
servant,
Ludwig van Beethoven.

[According to Jalm's copy in his Beethoven Papers in the Roya
Library, Berlin. The theatre director, Ferdinand von Palfy,
belonged to the old Hungarian race of Palfy von Erdöd, which
still exists in various branches.]

CCXLVI An GEORG THOMSON in Edinburg

Vienne le 20 Juillet, 1811.
Monsieur,

Comme les trois exemplaires de ces cinquante-trois
chansons ecossaises que j'ai vous envoye il-y-a longtemps, se
sont perdu et avec eux la composition originale de ma propre
main, j'etois force de completter mes premiers idees qui me
restoient encore dans un manuscrit, et de faire pour ainsi
dire la meme composition deux fois. L'etat de nos finances
a influence- sur tous les artistes et ils manquaient pour quelque
temps tous les moyens de les contenter ; mais ä present ou
l'ancien ordre est retabli, j'ai trouveun copiste raisonnable et
invariable et je suis en etat de pouvoir servir plus promptement.

Ä l'egard de ces cinquante trois chansons Ecossaises il
est ä observer, que j'ai donne dans ma composition a peu
pres ä chaque chanson deux parties croyant que chaque
chanson consistoit en deux parties ; mais il dependera de
vous, de vous en servir ou non ; il est ad libitum.

BEETHOVEN'S LETTERS 223

II sera superflu de dous parier de t d.s. ; mais ou vous

trouverez prima et alors seconda Volta vous pouvez rayer
la mesure de prima Volta et commencer de suite avec la

mesure de seconda Volta. Dans le cas ou on trouve 1, 2, 3,

Volta et l'ultima volta ou il fine on est oblige* d'executer

seulement la mesure ou plusieurs mesures de 1, 2, 3, Volta,
quand on retourne a dal segno, ou quand ou veut commencer
de nouveau. En cas contraire si on veut continuer sans
commencer de nouveau on peut se dispenser de la mesure

1, 2, 3, Volta et on prend d'abord la mesure de l'ultima

Volta ou note il fine. J'espere que ces details suffiront pour
Vous eclairer de ma composition et que vous l'accueillerez.

Je vous prie d'aj outer dans l'avenir tou jours le texte,
sans cela on est hors d'etat de satisfaire aux pretentions des
connaisseurs et de composer un accompagnement digne
d'une bonne poesie.

Vous avez tort de m'exprimer votre mefiance ; et je sais
de respecter mon parole d'honneur et je Vous assure, que je
ne confierai pas a personne une de mes compositions jusqu'a
que le temps convenu sera 6chu.

Je reviens encore une fois sur votre lettre du 17 Sept.,
1811, malgre que la reponse en est partie tout suite apres
sa recette. A l'egard de l'ofrre de cent ducats en or pour
les trois sonates je Vous declare que je les accepterai pour
Vous plaire et je suis aussi pret de Vous composer trois
quintettes pour cent Ducats en or ; mais quant aux douze
chansons avec le texte en anglois le prix fixe en est de 60
Ducats en or.* Pour le cantate sur la bataille dans la mer
baltique je demande 50 Ducats ; mais ä condition que le
texte original n'est pas invective contre les Danois ; dans
le cas contraire je ne puis pas m'en occuper.

Pour l'avenir il me sera agreable de travailler pour Vous ;
mais ä l'egard de la crise malheureuse dans laquelle nous
vivons et ä l'egard des grandes pertes que j'ai deja souffert
par ma confiance envers vos concitoyens il est une condition
essentielle, qu'il Vous plaira de donner ordre ä la maison
de Fries et Compagnie d'accepter mes compositions pour
Vous contre payement contant ; sans cela il me sera im-
possible de satisfaire ä Vos Commissions.

I'attends de Vous que Vous fixerez Pepoque ä laquelle

* Pour quatre [chansons le prix est de 25 Ducats.

224 BEETHOVENS LETTERS

Vous il plaira de publier mes compositions et que Vous
m'en avertirez pour que je puisse apres le terme echu les
faire imprimer et ainsi rendre compte au public du Continent
de mes occupations dans la partie dont je m'occupe.

Je me manquerai pas de Vous communiquer sous peu
mes Simphonies arrangees, et je m'occuperai avec plaisir
d'une composition d'un oratoire, si le texte en sera noble
et distingue, et si l'honoraire de 600 Ducats en or Vous
conviendra. Les derniers cinq chansons ecossaises Vous
recevrez sous peu par la maison de Fries.

En attendant Votre reponse je Vous prie d'etre assure de
ma plus haute consideration avec laquelle j'ai l'honneur d'etre
Votre tres humble et tres obeissant
Serviteur,

Louis van Beethoven.

[Adresse :]

" Messieurs Thomas Coutts et Co. pour Mr. G. Thomson
d'Edinbourg
Strand Londres.

[This letter only signed by Beethoven is in the British
Museum. Tr.] — [It is to be regretted that Campbell's " The Battle
of the Baltic " is not among the copies of poems preserved
among the Schindler Beethoven documents in the Berhn Library.
The poet paid several visits to Germany — Hamburg, Munich.
On his return to England in 1801 he saw the preparations for the
battle of Copenhagen. Campbell was held in high esteem by
Goethe and Freiligrath ; the latter imitated his " The Last Man."
— Beethoven's objection to set " The Battle of the Baltic " if it
contained anything abusive concerning the Danes, shows that he
entertained friendly feelings towards that nation. It is extra-
ordinary, however, to find him writing that to a Britisher ;
moreover he was sympathetically disposed towards the English
nation.]

CCXLVII To BREITKOPF and HAERTEL, Leipzig

[July 1811 ?]
P. P.,

That you are already sending away the Concerto to the
Industrie-Kontor, and goodness knows where else, before
you have received the corrections, does not please me. Why
will you not publish a single work of mine without faults ;
already the day before yesterday the corrections of the

BEETHOVEN'S LETTERS

225

Ill

■%

226 BEETHOVENS LETTERS

Concerto went off (if now the Industrie-Kontor receives
the Concerto, must I the faults. . . .

Next Saturday the corrections in the Fantasia, together
with my score, will also be sent off ; the latter, however,
I ask you to send me back at once.

[On the margin.]

nb. There are a jolly lot of faults in the Concerto.

[According to No hi. The original letter was formerly (1867)
in the possession of Capellmeister W. Taubert in Berlin. The
second sheet (at the passage with dots) was torn. The contents
concern the E flat Concerto and the Choral Fantasia. Both works
were published this year by B. and H., the former in May, the
latter in July. It is therefore extraordinary that this burst of
anger of the master with regard to the many faults in the Concerto
should only occur now.]

CCXLVIII To N. VON ZMESKALL

[July— August, 1811 ?]

I wished to pay you a visit, but unfortunately did not
find you.

The situation of your house pleases me very much,
so that I could seriously decide to be a hermit there for
eight days, if you would tell me what the expense would
be ; and if it is well in keeping with my purse, I would take
the place vacated by you. I should especially count on your
letting me have your pianoforte for a week, which I then
would let you have back. Farewell and think of your
affectionate

Beethoven.

[According to the original manuscript in the Vienna Court Library ;
first printed by Nohl. Beethoven's desire to have a pianoforte
shows us that the letter was concerned about a summer residence.]

CCXLIX To BREITKOPF & HARTEL, Leipzig

Toplitz, the 23rd August, 1811.

While here for the last three weeks seeking health, I
receive your letter of the 2nd of August ? It may have
been lying in Vienna for a time ; I had just undertaken the
revising of the oratorio and the songs, and in a few days you
will receive both — here and there the text must remain as

BEETHOVENS LETTERS 227

it was at first. I know that the text is a very bad one, but
when once one has thought out a whole, even from a bad text,
it is difficult to prevent disturbing this whole by single
changes ; so if there is a single word to which sometimes
special meaning is attached, it must be kept ; and an author
must be a [wretched] one who does not know how, or try to get
as much good as he can out of even a bad text ; and if
this be the case, changes will not improve the whole — I
have left some, as they really are improvements.

Farewell, and let me soon have news of you ; Oliva is
here and intends to write to you. The good reception given
to Mozart's Don Juan gives me as much pleasure as if it
were my own work. Although I know plenty of unpre-
judiced Italians who render justice to the German — that
the nation itself is inferior is probably the cause of the
backwardness and easy-going methods of Italian musicians —
yet I have learned to know many Italian amateurs who
prefer our music to their Paisiello — I render more justice
to him even than his own countrymen have done.

Your most devoted servant,

Ludwig van Beethoven.

[According to the original manuscript in the possession of the firm
of B. and H., in Leipzig ; first printed by La Mara. Beethoven's
remarks about the treatment of the text refer to the oratorio
" Christus am Ölberg " (Op. 85) published by B. and H., October
1811, words by F. X. Huber. The changes were most probably
made by Dr. Schreiber, concerning whom see Letter CCXXIX.
Beethoven's enthusiastic joy at Mozart's master work, " Don
Juan," is most refreshing. In his later years he spoke, it is true,
in a very different tone about it to Rellstab. Also, according to
Sayfried, he is reported to have said : " Don Juan is still quite
in Italian style, and, besides, holy art should never degrade itself
by becoming a foil to so scandalous a subject."]

CCL To the ARCHDUKE RUDOLPH

Your Imperial Highness ! [August 1811]

I beg you graciously to let Herr von Wranizky know to-day
your orders concerning the music, and whether 2 or 4 horns ?
I have already spoken with him, and recommended him only
to select Musici who will enable us the sooner to bring about
a rehearsal, or rather a performance.

Your Imperial Highnesses's
most obedient servant,

Ludwig van Beethoven.

228 BEETHOVENS LETTERS

[From autograph in the Gesellschaft der Musikfreunde, Vienna,
first printed by Koechel. — The violinist, Anton Wraniczky (1761-
1819) was a brother of the distinguished composer, Paul W. Anton.
W. was at this time musical director to Prince Lobkowitz.]

CCLI To TIEDGE, Dresden

To Herr von Tiedge, Dresden,

Care of Countess von der Recke.

Töplitz^ the 6th September, 1811.

Every day the following letter to you, you, you, floated
in my mind ; I only wanted a few words at parting, but not
a single kind one did I receive. The Countess offers me a
kind shake of the hands, anyhow that is something for which
in thought I kiss her hands ; the poet, however, is dumb. Of
Amalie I, at any rate, know that she is fond of me. Every day
I reproach myself for not having made your acquaintance
sooner at Töplitz. It is terrible to perceive the good for a
short time and then suddenly to lose it again. Nothing is more
unpleasant than to have to reproach oneself for one's own
faults. I tell you that I shall probably stay here until the
end of the month ; only write and tell me how long you are
staying in Dresden. I felt much inclined to dash off to the
Saxon capital ; the very day when you started from here,
I received news from my gracious Wiesbaden Archduke that
he would not stay long in Moravia, and that he left it to me
whether I should come or not. I thought over the whole
matter to the best of my will and wish, and so you see me still
here within the walls where I sinned so deeply against you
and myself. I should feel consoled, however, if you also called
it sin, then I am indeed a downright sinner and not a poor one.
— To-day I have lost my companion, I could, however, not
boast of him ; yet I miss him in my solitude, at any rate of
an evening and mid-day, when in order to bring forth the works
of intellect, I am forced to take what the human animal
must take ; and I prefer to do that in company — now live
as happily as is possible to poor humanity. Press the hands
of the Countess in a thoroughly tender and yet respectful
manner, to Amalie a really ardent kiss, as when no one sees
us, and we two embrace like men who love and dare to
honour each other ; I expect at any rate a word without keep-
ing anything back, and I can bear it like a man.

Beethoven.

BEETHOVENS LETTERS 229

[Thayer, who gives this letter (iii. 179), does not indicate
from what source. " Amalie " is Amalie Sebald from Berlin, a
beautiful and highly gifted lady, who was honoured and loved by
the two great composers : Weber and Beethoven.]

CCLII To N. VON ZMESKALL

[September 10, 1811 ?]
Dear Z.,

Don't do anything yet about the rehearsal ; I must go again
to the doctor's ; of his bungling I am at last quite weary.
Thanks for your time-measurer — we will see whether we can
be measured thereby for all eternity ; nothing ought to stand
in the way of yours, as regards lightness and intelligibility.
Meanwhile we will hold a conference on the subject. Al-
though, naturally, in clock-work one gets more mathematical
exactness, yet in former small experiments you have made
in my presence with your time-measurer, I have found much
that is profitable, and I hope that we shall arrange it quite
to our satisfaction. I shall soon see you.

Your friend,

Beethoven.

[According to the original manuscript in the Vienna Library ;
first printed by Nohl. The contents concern the invention of a
chronometer, but whether of Maelzel's invention cannot be said
with certainty ; anyhow, in the following year, Maelzel became
acquainted with Beethoven.]

CCLIII To Breitkopf & HAERTEL, Leipzig

Vienna the 9th October, 1811.

A thousand excuses and a thousand thanks from here
for your pleasant invitation to Leipzig, I am very sorry
that I cannot follow my own inclination and go there to
the places around about, but just now there has been such
a lot to do. The Hungarian Diet is sitting ; there is already
a talk of making the Archduke Primate of Hungary, and
of his resigning the Bishopric at Olmiitz. I have proposed
to H.I.H., who as Primate of Hungary will have an income
of not less than three millions, to squander away a million
on me every year (of course you understand the good musical
spirits which by that means I shall set in motion). In

230 BEETHOVENS LETTERS

Töplitz I received no further news, because they knew nothing
of my plan to go further ; I think also for the journey which
I have in view, considering my attachment, that I shall have
unwillingly to yield to him, and all the more as I shall be
wanted at the festivities. So after having selected the pro,
I am off to Vienna, and the first thunder-word which I
hear is that our gracious lord has entirely given up being,
or acting as a priest ; and so nothing will come of the
whole matter.

It is said he is to become a general, a thing, as you know,
easy to understand, and I, general-quartermaster in the
battle, which, however, I am determined not to lose — what
do you say to that ? Another event was caused by the Hun-
garians, for as I was stepping into my carriage to go to Töplitz,
I received a parcel from Buda-Pesth with the request to
write something for the opening of the new theatre. After
I had spent three weeks in Töplitz, and was pretty well, I set
to work, in spite of the order of my doctor, to help these
mustachioed men, who are well inclined towards me. I send
my parcel there on the 13th of September, thinking that the
opening would be between the 1st and 8th October ; mean-
while the whole affair is put off for a whole month ; and
the letter in which this was announced to me, I only received
here through some misunderstanding ; and yet this theatre
matter also decided me to go back to Vienna. — Meanwhile,
what is postponed is not lost. I have enjoyed the journey, and
it has done me good ; now I should like to be off from here
again — I have just received Das Lebewohl, &c, I see that you
really have other copies with French title. But why ? Lebewohl
is something very different from Les Adieux ; the first is
said in a hearty manner to a single person, the other to a
whole assembly, to whole towns. As you allow me to be
reviewed in so shameful a manner, you must also suffer for it ;
you would have also used fewer plates, and the difficult turning
over would thereby have been made easier ; enough upon this
subject — How in Heaven's name did my Fantasia with
orchestra come to be dedicated to the King of Bavaria ?
give me an answer about this at once ; if thereby you wished
to offer me an honourable gift, I will thank you for it, otherwise
it does not please me. Did you perhaps draw up this dedi-
cation yourself, what is the meaning of it? One cannot
dedicate anything to kings with impunity — then the " Lebe-
wohl " was not dedicated to the Archduke, why were not
the year, the day and datum, as I wrote them, printed. In

BEETHOVENS LETTERS 231

future please keep to the titles unchanged as I have sent
them. You may have the oratorio, and indeed everything
reviewed by whom you like. It annoys me to have written
a word to you about the wretched review. Who troubles
about such critics when one sees how the most wretched
scribblers are praised up by such critics, and how they speak
in the harshest way of art works, and are indeed forced to
do so, because they have not, as the cobbler has his last, the
proper standard. If there is anything to notice about my
oratorio, it is that it was my first and early work of the kind ;
it was written in fourteen days amidst all possible tumult
and other unpleasant, anxious events (my brother was
dying). If I mistake not, Rochlitz, already before it was
given to you to print, spoke not favourably about the chorus
of the disciples, " Wir haben ihn gesehen " ; he called it
comic, a feeling which at any rate was not experienced by
any one of the public here, and among my friends there are also
critics. That I should now write quite a different kind of
oratorio is certain. And now criticise as long as you like,
I wish you much pleasure ; it may give one a little prick
like the sting of a gnat, and then it becomes quite a nice
little joke. Not for ever ; that you cannot do. And so
good-bye. In the oratorio there was a passage in which the
horn ought to have been written in the printed copy on two
staves, namely, the second horn has the bass clef, but the first
the treble ; your proof-reader will easily find the place. Every
man must have more than one key, even if he opens nothing.
I will send you a letter addressed to Kotzebue, and beg
that you will see that it is sent to his address. Also some-
body will send his own letters to you from Berlin. I wish to
save him the postage, so be kind enough to send them on to me.
You won't think badly of me ; with regard to postage, each
time you give me notice, I will repay at once. Now Heaven
preserve you ; I hope soon to see you and have a talk ; you
see by that my firm intention to travel — all kind messages
to the Saxon, and especially to the Leipzig amateurs for their
good feeling towards me, of which I have heard much ; also
many thanks to the artists of whose zeal for me I have
also heard.

Yours,
Ludwig van Beethoven.

When will the Mass appear ? — Egmont? Do send the
whole score copied for my sake, and at my cost, to Goethe ;

232 BEETHOVEN 'S LETTERS

how can a first-rate German publisher be so impolite, so
impudent towards the German poet ? So send the score
quickly to Weimar. Concerning the Mass, the dedication
could be changed ; the lady is now married, and as the name
would have to be changed, leave out the dedication. Only
write to me when you are going to publish it, and then we
will find a saint for this work.

[According to the original manuscript in the possession of the
B. and H. firm ; not printed. Beethoven wrote music to Kotzebue's
" Nachspiel," " The Ruins of Athens," for the opening of the
Pesth theatre, and so quickly that it was already forwarded on
September 13, 1811 ; also to the poet's " Vorspiel," " König
Stephan," or "Ungarns erster Wohltäter" (Op. 117). Both
works were performed at the opening of the theatre on February 9,
1812. Very extraordinary are Beethoven's remarks concerning
the title of the E flat Sonata (Op. 81a), " Das Lebewohl." In his
letter of July 2, 1810, (No. CCXVII) published in this edition for the
first time, he describes it as a " Charakteristische Sonate, der
Abschied, Abwesenheit, das Wiedersehen." In a former letter to
the firm, Beethoven expressly asks them to give " the title as I write it
out, in French and German, not in French alone " (Letter CCXXXVI).
No attention was paid to the request, and this led to ill-humour
on both sides. Whether Beethoven's subtle distinction between
" Lebewohl " and " Adieux " is to the point, may be left to
specialists in romanesque philology ; anyhow, his digression is
striking. In stating that the Lebewohl was not dedicated to the
Archduke, Beethoven makes a mistake, for he had expressly
stated in a former postcript (No. CCXXXIV of April 1811) that " Das
Lebewohl, das Wiedersehen can only be dedicated to the Archduke
Rudolph." A word may be said about the composer's Philippic
against critics. He was evidently deeply annoyed at the criticism
of his E flat quartet (Op. 74), published by B. and H., December
1810, and reviewed in the Leipzig Allgemeine Musikalische Zeitung
of May 22, 1811. Yet the review was not an unkind one, was
indeed, as a whole, appreciative, but Beethoven's original style
was condemned. Among other things, the writer said : " In quartet
writing the aim should surely not be to commemorate the dead, or
to express the feelings of one in despair, but by soft, pleasing play
of the imagination to refresh and gladden one's heart ! " From
the above letter we see that Beethoven had nothing to do with the
dedication of one of his works to the King of Bavaria ! The first
intention was, apparently, to dedicate the first Mass to Bettina
von Arnim, who was married in this same year.]

BEETHOVENS LETTERS 233

CCLIV and CCLV To ELISE VON DER RECKE
and TIEDGE IN Dresden.

Vienna, Wine Month, 1811.
For Elise von der Recke.

Pious as I am, yet your pious invitation to the Naumann
church-music came too late, and I was forced to remain a
sinner, who delayed so long, caught up with you so late, and
then was really compelled just to miss you — Heaven rules
the fate of human and inhuman creatures, and so will also
lead me towards the better, if not now, at some other time,
among whom I count you, my honoured, noble friend.

I read your poem, and found in it the impress of your
feeling and of your spiritual nature ; I will send you very
shortly one of them with my feeble tones. Farewell, have
some regard for me, it is my strong desire, noble friend.

Your friend,

Beethoven.

[On the reverse side of the same sheet.]

You my Tiedge received me with the word of alliance,
so be it. However short our meeting together, we soon
understood one another, and there was complete sympathy
between us. It sorely grieved me not to be able to see you
and also others. I received your letter Saturday evening.
On Monday a packet of music had to be sent off, I was wild
with grief at having to say with Alcibiades : man has no
will of his own. And now, after having missed the best of
our meetings on account of the mustachioed Hungarians,
the whole blessed business will now last a month before this
Kotzebuish-Beethovenish product is performed. I am an-
noyed, and then the Archduke will not all of a sudden become
priest, hence everything, while I am here, looks different from
what it was before ; one really ought not to let one's self
be at all influenced by anything human.

[This double letter was first printed by Nohl in the Neue
Zeitschrift für Musik (1870), at which time Nohl stated that
the original was " in the possession of Senator Eulemann in Han-
over."— Beethoven's mind was of too healthy a nature for him to
endure for any length of time the gushing sentimentality of the
Tiedge-Recke circle. The latter soon returned to Dresden, a
few letters were addressed to the sesthetic pair, and then inter-
course entirely ceased. Yet Beethoven took heartfelt delight in
the poems of both Elisa and Tiedge. Although he set none of those

234 BEETHOVENS LETTERS

of the Countess Elisa, he entertained the idea of doing so, for
among the papers bequeathed by Schindler to the Berlin Library
there is one on which is written, " To set to music five poems by Elisa
von der Recke," and the particular five are mentioned. On the
other hand, Beethoven wrote music to Tiedge's " Die Hoffnung,"
" Die du so gern in heil'gen Nächten feierst " already in 1805,
and the latter again in 1816 and in grander style.]

CCLVI To H. VON ZMESKELL

26 October, 1811.

I come to-day to the Swan and hope to find you there
without fail, but pray do not come too late. My feet are
better, but the author of the feet promises the author of the
head at longest in 8 days, a sound foot.

Your,
Beethoven.

[According to the original manuscript in the Vienna Library ;
first printed by Nohl. — The " author of the feet " is Beethoven's
physician.]

CCLVII To the ARCHDUKE RUDOLPH

[October 1811]
Your Imperial Highness !

I see that Baron Schweiger has not yet informed you of
my yesterday's sudden attack. Y.I.H., i.e., I was suddenly
seized with such a fever that I became quite unconscious ;
a wounded foot may have been partly the cause. Mean-
while it is impossible for me to go out ; to-morrow, how-
ever, I shall be quite myself again, and so beg Y.I.H. to
let the orchestra be summoned for to-morrow afternoon
at a quarter to three, so that the gentlemen may come all
the sooner, and there will be time enough to rehearse the two
Overtures. If Y.I.H. should wish for the latter, I should want
4 horns ; for the symphonies, however, only two ; for the
symphonies I should like at least 4 violins, 4 second
violins, 4 Prim, 2 double basses, 2 'cellos. — I only beg you
most graciously to let me know your decision. I could have
no greater pleasure than to let my worthy pupil hear my
works. Heaven grant that you may soon be restored to
health, since I am often very anxious about you.

Yours most obediently,

Ludwig van Beethoven.

BEETHOVENS LETTERS 235

[According to the original manuscript in the Gesellschaft für
die Musikfreunde in Vienna ; first printed by v. Koechel, but his
date 1819 is evidently false. The two new " Overtures " and the
reference to the "wounded" foot in Letter CCLIV show that 1811
is the proper date.]

CCLVIII To N. V. ZMESKALL

[1811]
Highest-born !

We beg you to present us with some quills. We will
shortly send you a whole heap of them, so that you will not
be obliged to pluck out your own — You may possibly receive
the grand 'Cello-Order decoration.

We are well disposed towards you.

Your friendly friend,

Beethoven.

[From the autograph in the Vienna Library, first printed by
Nohl.]

CCLIX To the Same

[November 20, 1811]
We are deucedly disposed towards you — we advise you
not to lose your well-deserved fame. We beg you to proceed
as formerly, and, once again, we are cursedly devoted to
you, etc.

Ludwig van Beethoven.
[Address:]

Herrn von Zmeskall
High and nobly born.

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl.]

CCLX To the Same

[1811 ?]

I am inclined to take a man who copies music and who
has offered to come to me. His parents are still in Vienna,
and this in many ways might be productive of good results.
I want, however, to talk over the conditions with you, and
as you are free to-morrow, as I, unfortunately, am every day,
I beg you to come and take coffee with me to-morrow after-
noon, after you have dined somewhere, when I can consult

236 BEETHOVEN S LETTERS

you on the matter, and from advice proceed at once to action.
For the rest we have the honour to inform you that we shall
shortly send you some decorations of the Order of our House,
the great Star for yourself, the others to whom you please,
but none to a priest. We await your answer early to-
morrow— and at the same time honour you with some choice
language.

Your,

Beethoven.

[According to the original manuscript in the Court Library,
Vienna ; first printed by Nohl. — Beethoven's dislike to priests
was especially great at the later period when the law-suits with
his sister-in-law were being carried on.]

CCLXI To N. VON ZMESKALL

[October 1811 ?]

I thank you meanwhile, dear Z., and only inform you
that to-morrow afternoon about 3 o'clock there will be a
rehearsal of the Symphonies and Overture at the Archduke's
— but to-morrow morning before 12 o'clock I will give you
more precise information ; for the present I have announced
it.

Yours,

Beethovn.

[According to the original manuscript of the Vienna Court
Library ; first printed by Nohl. This note is connected with the
rehearsals which Beethoven wished to hold in the palace of the
Archduke Rudolf to try over his works (Ops. 113 and 117) written
for Prague ; compare Letter CCLVII to the Archduke. Hence the
note probably belongs to October 1811.]

CCLXII To N. VON ZMESKALL

[1811]
Dear Z.

I beg you at once to give me a certificate in writing that
you and I made out that 250 fl. was to be paid for two
rooms and the front room for the servant. Just imagine,
the lawyer, who unasked, allows us the use of the back room,
now demands 350 fl. — If he should not be satisfied with our
explanation, you must be kind enough and go with me to-

BEETHOVENS LETTERS 237

morrow morning to have a talk with him — the fellow is a
rascal —

N.B. — You can also prove that he at once took the earnest
money, namely, 20 fl. for 250 fl.

[According to the original manuscript in the Vienna Court
Library. The addition about the " Degen soarings " which
Jahn put to this letter, has been explained in Letter CLIX ; it has a
separate catalogue number in the Library.]

CCLXIII To N. VON ZMESKALL

[1811]

I shall certainly come to the " Swan " and wait for you
there — farewell, dear Z., and be sure to come.

Yours,
ludwig van Beethoven.

[According to the original manuscript in the Vienna Court
Library. It is written in pencil.]

CCLXIV To N. VON ZMESKALL

[1811 ?]

If, dear Z., it were only a matter of creating a product,
all would be well, but in addition to implant on a bad soil.
This morning I am the slave of the A. I shall soon see
you.

[According to the original manuscript in the Vienna Court
Library. This neat little letter offers a refreshing example of Beet-
hoven's numerous complaints of Pegasus in harness. A. is, of course,
the Archduke, whom Beethoven really honoured, and whose
musical gift he often willingly acknowledged ; yet he wras soon put
out of temper when the power of comprehension of the Archduke
formed an almost iron wall.]

CCLXV To N. VON ZMESKALL

[1811 ?]

My dear Z. It seems to me that when you are well, you
are always hawking about ; with the best will in the world
I cannot find you ; meanwhile I will come to you one of
these days.

As always your friend,

Beethoven.
For Herr v. Zmeskall.

238 BEETHOVENS LETTERS

CCLXVI To H. VON ZMESKALL

[1811 ?]

Most worthy councillor and owner of mines, also
Burgundian and Buda tyrant ! please tell me how this
matter stands, and this afternoon at latest I want to make
use of the answer to your [my ?] question. If I give
a fortnight's notice to the servant from to-day — he receives
his monthly money, as always, from me at the end of the
month — must I then, when at the end of fourteen days he
goes away, pay him a whole half-month ? — we have been
terribly taken in with this fellow, and it is only owing to my
patience that I put up with him. As he was a valet de
chambre, nothing is right for him, and every day he makes
increased demands in order to do less ; so I must put an end
to the matter ; in a certain way he has given me notice for
the second time, although this time only in order to get more
money, but I will not listen any more to anything he says —
I therefore beg you to give me an answer to-day, so that
this very day I may give him notice for good — this time I
must have recourse to the police about a servant, for with
all that I have had in this way, I have not been suc-
cessful. I am very busy and will come to see you to-
morrow or the next day. As always,

Yours,

L. v. Beethoven.

[At the side.]

Perhaps you could do something among your country-
men for your friend and countryman.
To Herr von Zmeskall.

[According to the original manuscript in the Vienna Court Library.
Zmeskall was an officer in the Royal Hungarian Chancery, and he
possessed estates in the territory of Buda-Pesth. The secretary's
" countrymen " were the Hungarians, but as a citizen of Vienna
he was also Beethoven's countryman.]

CCLXVII To the Same

Vienna, January 28, 1812.

I come, dear Z., to the Swan to-day ; I am, unfortunately,
always too free, and you never.

Yours,

Beethoven.

BEETHOVEN S LETTERS 239

[According to the original manuscript in the Court Library,
Vienna. The Swan was the favourite inn which Beethoven used
to frequent.]

CCLXVIII To the Poet AUGUSTUS VON

KOTZEBUE

Vienna, 28th January, 1812.

Highly esteemed, highly honoured Sir !

As I wrote music to your Prologue and Epilogue for the
Hungarians, I could not refrain from the ardent desire to
possess an opera from your unique dramatic genius, whether
romantic or quite serious ; heroic, comic, sentimental, in
short whatever pleases you I will accept with pleasure.
Certainly I should most like a big historical subject, and
especially from the Dark Ages, for example about Attila, &c.
However I will accept with thankfulness whatever be the
subject, anything that comes from you, from your poetic
soul, which I will transfer to my musical soul. . . .

[From August von Kotzebue's " Judgments of his Contemporaries
and of the present, compiled by W. von Kotzebue." The editor
only remarks with regard to this letter that unfortunately the end
is missing. It is not even known where the original is ; perhaps
in the archives of the Vienna Burgtheater, where formerly Kotzebue
held an official post. We already know that Beethoven, out of love
to the " mustachioed," had set to music Kotzebue's " Ruins
of Athens," and the prelude to " King Stephen." The first
performance and the dedication of the Pesth German theatre
took place on February 9, 1812. The master about this time
was more than ever drawn towards dramatic music. He lacked
the right poet, and hoped finally to have discovered him in
Kotzebue ; yes, he was even ready to compose a comic opera if
Kotzebue would grant his wish. However, nothing more came of
the matter between the two.]

CCLXIX To BREITKOPF & HAERTEL

Vienna, the 28th January,
1812.
P. P.,

As a punishment for your total silence, I order you to see
at once that these two letters are delivered to the persons
addressed. A Livonian swaggerer promised to see that a

240 BEETHOVENS LETTERS

letter was given to K., but probably, as in general Russians
and Livonians are swaggerers and big boasters, he did nothing
at all, although he gave himself out as a good friend of his
— I also beg you, although I ought properly to inflict it on
you as a punishment for the many faulty editions, false
titles, negligences, etc., and other human weaknesses, to
attend to this matter, so I beg you most humbly to see that
these letters are properly delivered — And then, send the
letter to Goethe together with the Egmont score, but not
in your usual style, with perhaps here and there a number
missing, etc. ; not so, but everything in perfect order. I
have given my word, and hold to it all the more if I can compel
another person such as you to the carrying out of it — ha,
ha, ha. It is your fault that I can use this language to a
sinner like you, who, if I wished, would have to wander about
in penitential garment made of hair for all the wicked things
that he has done to my works. In the chorus in the oratorio
" wir haben ihn gesehen," in spite of my nota for the old
text, the unfortunate change has remained. Good heavens !
do they really believe in Saxony that the word constitutes
the music ? If an unsuitable word can ruin music, which
it certainly can, one ought to be glad when one finds that
music and word are one ; and although the word-expres-
sion may be a vulgar one, they should not try to improve
it — dixi — I have taken very little of the fifty thalers'
worth of music, for with Herr Traeg everything is slow
[traeg] ; send me also Mozart's Requiem, Clemenza di Tito,
Cosi fan tutte, Don Juan — the meetings at* my house are
beginning again, so I want these things sent by post as cheaply
as possible, for I am a poor Austrian musician. The C. p.
Emanuel Bach things you could really make me a present
of, they are spoiling at your place — If the three songs of
Goethe are not yet printed, hurry up with them, I want to
give them to Princess Kynsky, one of the prettiest, stoutest
ladies in Vienna ; and the Egmont songs, why are they not
published ? why is not the whole edition out, out, out — if
here and there you want a coda stuck on to the entr'actes,
I can manage it, or else let a Leipzig proof-reader of the
Musik-Zeitung see to it ; they understand such matters
about as well as a brick-wall — Kindly debit me with the
postage for the letters — It seems to me, it has been whispered
that you are again going to be married, and to that I ascribe
all your previous muddles. I hope that, like the holy
Grecian Socrates, you may meet with a Xantippe, so that

BEETHOVENS LETTERS 241

for once I may see a German publisher, and that is saying
a great deal, yes see him in downright perplexity — I hope soon
to be honoured with a few lines from you,

Your friend,

Beethoven.

[According to the original manuscript in the possession of the
music publishers, B. and H., Leipzig ; first printed by La Mara. The
letter to be " given to K." was probably the one written the same
day (No. CCLXVIII) to Kotzebue, who at this time was living on his
estate in Esthonia. It is astonishing to read that the three settings
of Goethe poems dedicated to Princess Kynsky had not — now in
January 1812 — yet appeared, for they were already published,
according to trustworthy information, in November 1811, by
B. and H. Beethoven earnestly begs the firm to send the score
of Egmont together with a letter, to Goethe ; the composer
himself, in the previous year, had sent through his friend Oliva, a
letter to the poet, in which he assured him that Egmont should
be forwarded. The letter of 1812, mentioned above, to be sent
with the score, has not yet been found.]

CCLXX To VARENA, Attorney of the Exchequer

at Graz

End of January, 1812.
P. P.,

Had not the terms of your letter clearly shown that it
was your intention to be of service to the poor, you would
have deeply pained me, for you support your request by
payment. Never from my earliest childhood did my zeal
to serve poor suffering humanity by means of my art allow
of any conditions being made ; or nothing more is needed than
the inward feeling of satisfaction which always accompanies
such actions. You receive herewith an Oratorio which occupies
half an evening, an Overture, and a Fantasia with chorus.
If in your Institutions for the poor you have a depot for
such things, place in it these 3 works as an expression of
sympathy on my part for the poor there, and as the property
of the managers of the benefit concerts. In addition
you will receive an Introduction to the " Ruins of Athens,"
of which I will let you have the score the soonest possible,
also a grand Overture to Hungary's first benefactor. Both
belong to 2 works which I wrote for the Hungarians for
the opening of the new theatre. But please be kind
enough to assure me by writing, that both works will not be
i Q

242 BEETHOVENS LETTERS

given into any other hands, as they are not yet, and will not
be printed for a long time. You will receive the latter grand
Overture as soon as it is returned to me from Hungary, which
will certainly be in a few days. An amateur in your town,
about whom Professor Schneller has spoken to me, would
perhaps be able to perform the [pianoforte part of the]
Fantasia with chorus. The words of a chorus after No. 4
in C Major were altered by the publishers, quite contrary
to the expression ; the words written above in pencil are those
which have to be sung. If you can make use of this oratorio,
I could also send you the parts written out, so that the expenses
for the poor would be less — kindly send me an answer about
this.

Yours very truly,

Ludwig van Beethoven.

[According to Jahn ; printed from another source by Nohl. In
a letter to Wegeler, Beethoven spoke of his desire to practise his art
for the benefit of the poor. At Graz lived many worshippers of the
master ; in addition to Varena there was the brilliant lady pianist
Pachler-Koschak, i.e., the amateur mentioned by Beethoven.
Professor Schneller, and many others. Varena arranged all kinds
of concerts for the benefit of the poor, and from time to time Beet-
hoven generously lent his newest manuscripts. The correspondence
with Varena lasted until 1815.]

CCLXXI To N. VON ZMESKELL

2nd February, 1812.

Not extraordinary, but very orderly, ordinary quill-cutter,
whose virtuosity in this matter has already decreased, these
need repairing — when will you cast away your fetters ? when ?
you know a tine lot about me ; life here in this Austrian Barbary
is a cursed thing — I now go mostly to the Swan, as I cannot
get away from importunate folk at other inns.

Farewell, as well as I can wish you without me,

Your friend,

Beethoven.

Most extraordinary one, we beg for your servant to find
some one to clean out the rooms; as he knows the parish,
he can at once fix the price.

But soon — carnival ragamuffin !!!!!!!!!!!! !
to Herr von Zmeskall.
The enclosed letter is at least

eight days old.

BEETHOVENS LETTERS 243

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl. This note to the quill-cutting
friend again shows the master in most frolicsome humour.]

CCLXXII To the Same

[February 8, 1812]

Wonderful, chief soaring man in the world, and that
without help of lever ! ! ! ! We are greatly indebted to you
for having bestowed on us a portion of your buoyancy. We
desire personally to thank you for it, and therefore invite
you to come to-morrow to the Swan Inn, which by its name
shows that it is the very place to talk of such a matter.

Yours truly,

Beethoven.

[According to autograph in the Vienna Court Library ; first
printed by Nohl. (Be play upon words, see Preface. — Tr.)]

CCLXXIII To VARENA

[February 8, 1812]

Herr Oettich has already received the parts of the Ora-
torio, and I beg you kindly to send them back to me as soon
as you have done with them ; they really ought to be free
from faults, but in any case you have the score, so can easily
set anything right. I only received the Overtures from
Hungary yesterday, but they shall be copied as quickly as
possible and sent to you. In addition I enclose a Choral March,
likewise from " The Ruins of Athens," and it will help fairly
well to fill out the time. When sending the Overture and
Choral March, I will let you know how I wish you to deal with
them, for these pieces are merely in manuscript.

During the past year I have published no new works,
and in this case I have each time to assure my publisher in
writing that no one otherwise possesses such works ; so you
will probably see that I have to make myself sure against
any possible uncertainty or chance in this matter.

For the rest, I shall always make a point of showing my
warmest readiness to help your poor there, and I herewith
undertake to send you every year even works which only
exist in manuscript, or even written specially for the occasion,
i.e., for the benefit of your poor. I also beg you to let me
know even now what in future you decide to do for your poor.

244 BEETHOVENS LETTERS

and I will certainly bear it in mind — So farewell, and with
assurance of my esteem I remain,

Yours very truly,

Ludwig van Beethoven.

[According to Jahn's copy in the Berlin Library ; first printed
by Nohl.]

CCLXXIV To H. VON ZMESKALL

[February 1812

Damned, dear little ex-music Count, what the devil do
you mean — will you come to-day to the Swan ? no ? yes.
From the enclosed you see all that I have done for the
Hungarians. It is something quite different when a German,
without giving his word, undertakes something, as, for
instance, a Hungarian Count B, who allowed me for some
paltry trifle or other, to travel all alone, and in addition kept
me waiting without my expecting anything —
best ex-music Count

I am your best actual

dear little Beethoven.
Send back the enclosed at once, for we want to blame the
Count for something else.

[According to the original manuscript in the Court Library,
Vienna ; first printed by Nohl. Beethoven here points his sarcastic
humour at his friend, the Hungarian Count Brunswick, who, the year
before let him travel with Oliva, instead of being the much-desired
travelling companion, although the composer had done so much
for the Hungarians ; in this letter he had in mind his compositions
for the inauguration of the new Pesth theatre.]

CCLXXV To N. VOH ZMESKALL

[February 1812 ?]
Dear Zmeskall !

The well-known clockmaker who lives just at the Freiung
will come to you. I want to have a very good repeating
watch, he asks 40 ducats for it — as you willingly trouble about
such matters, I beg you to see to it for me, and to procure
me an excellent watch.

With the most frantic esteem for a man like yourself,
who will soon give me opportunity to make use in his favour
of my special knowledge of horn instruments.

Ludwig van Beethoven.

BEETHOVENS LETTERS 245

[According to the original manuscript in the Vienna Court Library ;
first printed by Nohl. Was the composer perchance intending
to dedicate to this friend a composition for horn, or to dedicate to
him the A major Symphony which Avas now being written, and in
which the horns are used in so characteristic a way ? As a matter
of fact, this very active friend received the F minor quartet (Op.
95) which was already composed in the autumn of 1810, but which
was first published by Steiner and Co., in the year 1816.]

CCLXXVI To N. VON ZMESKALL

[19th February, 1812]

Dear Z. only yesterday I received a letter to the effect that
the Archduke pays his share in redemption bonds. Kindly
set down in rough the contents, as you said on Sunday,
and as we both thought best, in order to send to the other
two — I am offered a certificate showing that the Archduke
pays in redemption bonds ; I however think that this is
unnecessary, all the more as the folk at Court, in spite of
an apparent friendship for me, say that my demands were not
just ! ! ! ! ! O Heaven, help me to bear it ; I am not Hercules
who can help Atlas to carry the world, or to do so instead
of him. Only yesterday was I made fully acquainted with
the kind manner in which Baron von Kruft spoke about
me, and gave his opinion about me to Zisius, — never mind,
dear Z., I shall not long continue to live here in this disgraceful
manner. Art, when persecuted, finds everywhere a place of
refuge ; Daedalus, though enclosed in the labyrinth, invented
wings which carried him into the air ; oh ! I also will find
these wings.

Yours always,

Beethoven.

If you have time, send me the desired form this very
morning ; for nothing, probably to get nothing. I have been
kept in suspense by polite words ; so all this time will be lost.

[According to the original manuscript in the Vienna Court Library ;
first printed by Nohl. This letter is a long complaint with regard
to the finance patent of the year 1811. Archduke Rudolf, as we
learn from this letter, set the noble example which was soon
followed by Prince Lobkowitz. There were many difficulties with
the heirs of Prince Kinsky, as letters of this and the following
year will make clear. The name of the prince who spoke so kindly
to Zisius was not Kraft, but Krufft. Baron v. Krufft was a pianist

246 BEETHOVEN'S LETTERS

at Vienna. I find his name mentioned in letters 'of Weber, who
was in Vienna in 1813, and giving concerts himself. On April 16
he writes to his friend Gänsbacher : "I find almost every-
thing below my expectations ; the great stars are very small
when one comes to look closely at them. Moscheles, Hummel,
von Krufft, &c, are all honest, but stars of ordinary size." On
April 25 Weber gave a concert. His son and biographer
states that his improvisations on the piano were not received
favourably by the critics there, who placed Moscheles, Hummel,
and Krufft as pianists above him. Beethoven frequented the
house of Dr. Johann Nepomuk Zisius, a lawyer and Professor of
Statistics.]

CCLXXVII To N. VON ZMESKALL

[20//i February, 1812]

Probably my donkey of a servant did not give my message
properly that I was waiting for you. As it is just twelve,
and I am going to Schuppanzigh, I beg you to let me know
to-morrow where I can speak to you.

Yours always,

Beethoven.

[According to the original manuscript in the Vienna Court Library,
first printed by La Mara. Schuppanzigh was Beethoven's famous
violinist, whom he named, on account of his stoutness, "My lord
Falstaff." In friendly conversations, of which there are delightful
examples in the Conversation Books, they address each other in the
third person.]

CCLXXVIII An GEORGE THOMSON in Edinburg

Vienne the 29 Febr., 1812.
Monsieur !

En m'assurant que vous ne me refuserez pas de me faire
payer chez Messieurs Fries et Comp, au lieu de 3 ducats en or
4 ducats en or pour chaque chanson, j'ai rendu les 9 chansons
a susdites Messieurs, j'aurais ainsi encore 9 ducats en or a
recevoir.

Haydn meme m'assure qu'il a aussi re£U pour chaque
chanson 4 ducats en or et pourtant il n'ecrivit que pour le
clavecin et un violon tout seul sans ritournelles et violoncelle.
Quant ä Monsieur Kozeluch, qui vous livre chaque chanson
avec accompagnement pour 2 ducats je vous felicite beaucoup
et aussi aux editeurs anglois et ecossois quand ils en goutent.

BEETHOVENS LETTERS 247

Moi je m'estime encore line fois plus superieur en ce genre
que Monsieur Kozeluch ( : Miserabilis : ) et j'espere crogant
que vous possedez quelque distinction, laquelle vous mette
en £tat de me rendre justice.

Je n'ai pas encore regu la reponse a ma lettre derniere,
et je souhaite de savoir a quoi que je suis avec vous. Vous
auriez dejä longtemps les 3 Sonates pour 100 ducats en or
et les 3 Quintettes pour la meme somme, mais je ne peux rien
risquer en cette affaire et il faut que je recoive les sorames
fixees de Messrs. Fries en presentant les exemplaires.

A ce qui regard les 12 chansons, avec le texte angloise
le honoraire est 70 ducats en or. Pour la Cantate contenant
la bataille dans la mer Baltique 60 ducats en or, pour l'Ora-
toire je demande 600 ducats en or, mais il est necessaire, que
le texte soit singulierement bien fait. Je vous prie instamment
d'adjoindre toujours le texte aux chansons ecossaises. Je
ne comprends pas comme vous qui etes connaisseur ne pouvez
comprendre, que je produirais des compositions tout ä fait
autre, si j'aurai le texte ä la main, et les chansons ne peuvent
jamais devenir des products parfaits, si vous ne m'envoyez
pas le texte et vous m'obligerez ä la fin de refuser vos ordres
ulterieurs.

Puis je voudrois savoir si je peux faire la violine et le
violoncelle oblige, de sorte que les deux instruments ne
peuvent jamais etre omis, ou de maniere presente, que le
Clavecin fait un ensemble pour soi-meme ; alors notez-moi
ä chaque chanson s'il y a plusieurs versettes et combieu ?
S'il y a des repetitions j || j qui sont quelquefois tres mal note
par ces deux ft lignes.

Je vous prie de repondre bientot car je retiens plusieurs
compositions ä cause de vous. Je souhaite aussi de recevoir
les 9 ducats en or, pour les chansons ecossaises, nous avons
besoin d'or ici, car notre empire n'est rien qu'une source de
papier ä present, et moi sur tout, car je quitterai peut-etre
ce pays ici et je me rendrai en Angleterre et puis ä Edinbourg
en Ecosse, ou je me rejouis de faire votre connaissance en
personne. Je suis avec l'estime le plus parfait.
Monsieur,

Votre tres humble serviteur,

Louis van Beethoven.

[This letter to Thomson, only signed by Beethoven, was first
communicated by Thayer (iii. 441). That the commonplace
composer, Kozeluch, should have been cast in Beethoven's teeth was
bound to produce fierce scorn. "Kozeluch (1748-1818) was Mozart's

248 BEETHOVENS LETTERS

successor as Court composer and imperial Capellmeister, who in
the early stage of Beethoven's career was held up to him, by the
critics, as a model. If Kozeluch is here somewhat maliciously
treated, his only daughter Katharina, viz., Katharina Cibbini who
was a brilliant pianist, was held in high esteem by Beethoven. Mr.
Cuthbert Hadden states that Beethoven only received this February
letter in December ; meanwhile Thomson had written twice to the
composer (August 5 and October 30).]

CCLXXIX To N. VON ZMESKALL

[Spring 1812]

You have to appear to-day at the Swan, Brunswick is
also coming. If not, you will be excommunicated in regard
to all which concerns us ; excuses per excellentiam will not
be accepted. Obedience is demanded where one knows that
everything is being attended to for your best, and that you
are being preserved from temptation, and telling lies — dixi.

Bethven.
Herr von Zmeskall.

[According to the original manuscript in the Vienna Court Library ;
first printed by Nohl. The contents of this letter must belong to
the spring of 1812. It recalls an amusing story related by Schindler
connected with Mälzel's metronome. He says, " In the spring of
the year 1812, Beethoven, the mechanician Mälzel, Count von
Brunswick and others were sitting together at a farewell meal."
Among these " others " was certainly Zmeskall, who in the above
letter is invited by Beethoven.]

CCLXXX To the Private Secretary, BAUMEISTER

[12th March, 1812]

Please send me the Overture to the Nachspiel to Hun-
gary's Benefactor, it must be copied quickly, and sent at
once to Graz for the benefit concert for the poor to be
given there. I consider myself only too happy when, for
such benevolent aims, my art can be used. You need only
say that to the gracious master, and he will certainly let
you have it, all the more as you know that all my own
slender intellectual powers also belong to H.I.H. — As soon
as the Overture is copied, I will return it to H.I.H.

Yours very truly, etc. etc.

[Thayer gives this (iii. 194) but without naming source.]

BEETHOVENS LETTERS 249

CCLXXXI To the ARCHDUKE RUDOLPH

[March 1812]
Your Imperial Highness !

With true annoyance I received the news to come to
Y.I.H. very late, in fact only about 11 o'clock. Contrary to
my usual custom, I did not return home in the afternoon ;
the beautiful weather tempted me to go out walking for the
whole afternoon, and in the evening I was at the Banda in the
Wieden, and so it happened that only on returning home did
I learn your wish — if however Y.I.H. should consider it
necessary, I am ready to come to you at any moment, any
hour — I await your gracious commands.

Your Imperial Highness's most obedient,

Ludwig van Beethoven.
[Addr. :]

To His Imperial Highness
the Archduke Rudolph.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by Nohl. The
word " Banda " (auf der Wieden) has a sign of interrogation after
it in 0. Jahn's copy of the letter. Thayer, who gives the letter
from Jahn, puts without hesitation — and perhaps correctly —
" Wanda," and gives the following explanation : " Wanda, Queen
of Sarmatia, a romantic tragedy with songs in 5 Acts by Zacharias
Werner, with music by Riotte, was performed at the theatre ' An
der Wien,' on March 16, and repeated on March 17, 19 and 30,
and on April 2 and 20." The original, however, has " banda."
Banda is an old term for orchestra. The twenty-four violins of
Louis XIV. were called the " Bande du roi," and in like manner
the twenty-four fiddlers of Charles II., the "King's Private
Band." Perhaps, indeed, there was an Italian " Banda " at the
Wieden.

CCLXXXII To the Attorney of the Exchequer,
VAREN GRATZ

[March 1812]

[About Easter Time]

P.P.,

In spite of my readiness to serve the poor, as I have always
done, it is not possible. I have no proper copyist who, as
formerly, writes regularly for me, and times have in this
matter made it impossible — and now I must always have

250 BEETHOVENS LETTERS

recourse to strange copyists. One of these had promised
me to write out the Overture for you, but Holy Week, when
all kinds of concerts are being given, prevented him from
keeping his word, in spite of all my efforts — but even if the
Overture and the March with chorus had been copied, it
would have been impossible to get them off by this post, while
even by a later one, the music would have arrived too late
for Easter Sunday. Show me the means, how and where
there could be more time, or special opportunity, for sending
off these works and I will do my best to help the poor.

With respect,

Your most devoted,

Ludwig van Beethoven.

[According to the original manuscript in the possession of the
music publishers, B. and H., in Leipzig ; unprinted.]

CCLXXXIII To BREITKOPF & HARTEL, Leipzig

Vienna, the Hh April, 1812.

I particularly want the three songs of Goethe's and mine ;
have them printed an fine paper as quickly as possible, quicker
than possible, and send to me the melodies by letter post; for
to-day I cannot answer the last kind letter you sent me.

With respect,

Your ever willing,

L. v. Beethoven.

[According to the original manuscript in the possession of the
music publishers, B. and H., in Leipzig ; unprinted. On the address
side there are many figures in red pencil ; below them, near the seal,
are the words, probably written by the brother Carl : " Von
Herrn v. Bethofen auf der Molker Bastey Nro. 1239." The three
songs here asked for in such stormy fashion were the three songs
(Op. 83) which appeared in November 1811.]

CCLXXXIV To the Attorney of the Exchequer,

VARENA

[April 1812]

If all cannot be sent off at once, the choruses in the score
must anyhow be sent to Graz at once, for they have first to
be copied out — if everything can be sent at small expense

BEETHOVENS LETTERS 251

by some special opportunity, that would be best, so that you
would have more leisure to select and also to rehearse.

[According to Nolil, who remarks : In the possession of Dr.
Lutze at Cöthen. The Wiener Zeitung of April 11, 1812, announces :
" Herr van Beethoven has sent his latest works for the benefit
concert at Graz by courier."]

CCLXXXV To the ARCHDUKE RUDOLPH

[April 1812]
Your Imperial Highness !

Only now, as I am able to leave my bed, can I answer
your gracious letter of to-day. I cannot possibly come to-
morrow, but perhaps the day after — I have suffered much
during these days, and I might say doubly so, in that I have
not been able, as I ardently wished, to devote really much
time to you : I however think that there will be an end of it
(I mean of my illness) in the spring and summer.

Your Imperial Highness's most obedient

servant,
Ludwig van Beethoven.
[Addr. :]

To His Imperial Highness
the Archduke Rudolph.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by Nohl.]

CCLXXXVI For HERR THEODOR KORNER

The 21st April, 1812.
P. P.,

For some time I have been constantly poorly and con-
stantly busy, and so I could not explain myself about your
opera — with pleasure I seize the opportunity to let you know
my desire to speak with you — Will you do me the pleasure
to come to me to-morrow morning before 12 o'clock. It
will give me very great pleasure, and we can talk together
about your opera, and also about another that I should like
you to write for me — by word of mouth you will learn that
the cause of my silence was not disregard for your talent.

' «- [According to Nohl. This letter was found by Dr. Friedrich
Förster of Berlin, after Körner's death, on August 26, 1813,

252 BEETHOVENS LETTERS

in his breast pocket. The most brilliant period for Körner was at
Vienna, 1811-1812, when everybody, especially one of the directors
of the Vienna Court Theatre, Prince Lobkowitz, expected that
Körner would write the much-desired libretto for the composer
Beethoven. So Lobkowitz announced a libretto competition in the
year 1812, which, however, did not bring about the hoped-for
result. Beethoven remained afterwards as before, without a
satisfactory libretto. There is, perhaps, a tone of resignation in
Beethoven's letter to Körner. The latter had specially begun an
opera, The Return of Ulysses, as he knew Beethoven's special
preference for Homer's Odyssey. The plan of the Ulysses text,
which has been preserved in the Körner Museum at Dresden, was
published for the first time in Adolph Stern's great edition of the
works of Theodor Körner. For further details concerning Körner's
intercourse with Beethoven, see my article in the Hamburger
Signale, 1891.]

CCLXXXVII To N. VON ZMESKALL

[26th April, 1812]

For to-day it is not possible, yet I will shortly apply to
you — we are devilishly devoted to you, if the cap fits wear
it — your L. V. Bthven.

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl.]

CCLXXXVIII To the ARCHDUKE RUDOLPH

[Spring 1812]
Your Imperial Highness !

I often, as usual, came in the evening hours to wait on
you, but could find no one — I attributed this to the very fine
weather, but as this is no longer the case, I ask when you
order me to wait on you.

Your Imperial Highness's most obedient,

Ludwig van Beethoven.
To His Imperial
Highness the
Archduke Rudolph.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna; first printed by Nohl.]

BEETHOVENS LETTERS 253

CCLXXXIX To VARENA, Attorney of the
Exchequer, Graz

Vienna, 8th May, 1812.
Honoured Sir !

Still ill and very busy, I could not answer your letter.
How could you ever have had thoughts not at all in keeping
with my character ; I really ought to be angry — it would
have been better if you had sent the music immediately
after the production, for that was the time when I could
have had it performed here ; so unfortunately it came too
late, and I say unfortunately, because I could not spare the
venerable ladies the costs of copying. At any other time
I would on no account have charged for the copying, but
just at this moment I was worried with all kinds of misfortunes,
which prevented me doing what I should have liked. Probably
Herr O., his otherwise zealous good-will notwithstanding,
delayed to inform you of this, and so I was obliged to have the
copying paid to me by him. Perhaps indeed, writing quickly,
I did not explain myself in a sufficiently clear manner. Now,
my most worthy friend, you can have back the Overture and
also the chorus, in case you want both pieces. You will
in every way prevent my trust in you being misused, of
this I am convinced — meanwhile you may keep the other
Overture, under conditions stipulated. If I am in a position
to pay for the copying, I shall have them back for my own use.

The score of the oratorio is a present, likewise the Egniont
Overture. You can keep the parts of the oratorio until you
have performed it. For the concert which I believe you are
now going to give, take whatever you wish, and if you also
want the chorus and the Overture, which you have sent back
to me, these pieces shall be at once forwarded to you — for
the future benefit concert for the venerable Ursulines, I at
once promise you an entirely new Symphony. That is the
least ; I may perhaps also give you some important vocal
work — and as I have now the opportunity, the copying shall not
cost a farthing. My joy would be boundless over the successful
concert, had I not been compelled to charge costs, so be
satisfied with my good-will. Kind regards to the venerable
trainers of the children, and tell them that I wept tears of
joy at the good success of my weak good- will ; also that
where my feeble talent can be of service to you, you will
always find me one of your warmest, most sympathetic friends.

254 BEETHOVENS LETTERS

My heartiest thanks for your invitation ; I would much
like one day to visit the interesting places in Styria, and it
is quite possible that I shall give myself this pleasure. Fare
right well ; I heartily rejoice to have found in you a friend
of those in distress — and I am ever,

Your

most willing
servant,
Ludwig van Beethoven.

[According to Jahn's copy in the Royal Library, Berlin ; it was
printed by Nohl from another source. The clearly written " 0 "
renders it evident that in Letter CCLXXIII, the name " Rettich "
given by other editors, ought to be " Oettich."]

CCXC To BREITKOPF & HAERTEL in Leipzig

[May 1812]
P. P.,

I at once send the Mass ; and please do not play tricks
with me, and magnanimously present it to the public adorned
with great faults. If it is coming out so late, the dedication
ought to be altered, viz., to Prince Kynsky, and for this you
will receive the further Titularium. So must it be. In the
chaos amid which we poor Germans live, who can say whether
you will see me in the North — Farewell ; I am writing 3
new Symphonies, one of which is now completed. I have
also written something for the Hungarian Theatre — but in the
slough in which I find myself, all that is as good as lost —
I only hope I shall not entirely lose myself.

Fare right well ; be glad that you are more fortunate
than other poor mortals.

Yours very truly,

Beethoven.

[According to the original in possession of the B. and H. firm.
The dedication of the Mass in C, which, as I have already remarked,
was probably intended for Bettina von Arnim, was, " the lady being
now married," definitely assigned to Prince Kynsky, and so it
appeared in November 1812. Beethoven here communicates the
information that he is writing three symphonies : the first was the
divine one in A, the second tne humorous one in F (Op. 93). And
the third ? The composer was probably already thinking of his
Symphony in D minor, which however, only assumed definite shape
a decade later.]

BEETHOVEN'S LETTERS 255

CCXCI To Private Secretary BAUMEISTER

Sunday, June 28, 1812.
P. P.,

I beg, with all courtesy, for the loan, only for to-day, of
my 2 Trios for pianoforte, violin, and 'cello ; the first is in
D major, the second in E flat. If I mistake not, H. Imperial
Highness has them in manuscript in his library — the Sonata
in A for pianoforte and 'cello is printed separately, so like-
wise is the Sonata in A minor for pianoforte and violin —
All shall be returned to-morrow morning —

your

devoted
servant,
Ludwig van Beethoven.
[Address :]

An Seine Wohlgebohrn
Herrn von Baumeister.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by Nohl. The
Sonata in A minor (Op. 23) was dedicated to Count Fries.]

CCXCII To JOSEF BARON V. SCHWEIGER,

Chamberlain to the Archduke

[June 1812]

The smallest of small beings went in vain to the house
of the most gracious Master, where everything was closed,
then here, where everything was open, but no one except the
faithful servant — I brought with me a thick packet of music
so as to finish up with a good musical evening — nothing. —
Malfatti insists on my going to Teplitz, and that I do not at
all relish — I can't help hoping that the most gracious Master
will not be able to enjoy himself so well without me. — O
Vanitas — that's what it is — before I go to Teplitz I will
visit you in Baden, or write. Farewell, all kind messages
to the most gracious one,

And love

Your friend,

Beethoven.

[According to the orginal manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna. As Beethoven was in

256 BEETHOVENS LETTERS

Teplitz both in 1811 and 1812, this letter might belong equally well
to the former year. Dr. Malfatti was the uncle of the beloved
Therese von Malfatti.]

CCXCIII To VARNHAGEN VON ENSE

Teplitz, lUh July, 1812.

Here, dear Varnhagen, is the parcel for Wilms (Willisen)

— I ask him to send me by mail coach here the three parts

of Goethe's Wilhelm Meister's Lehrjahre, as the fourth

missing one has been found — if you should be coming here

soon yourself, this certainly would not be necessary, so I

will leave the matter to your wisdom. — Of Teplitz there is

not much to say, few people, and amongst this small number

no one of distinction, hence I live — alone — alone ! alone !

alone ! I was sorry, dear Varnhagen, not to be able to

spend the last evening with you in Prague. I myself felt

that it was not the right thing, but a circumstance which

I could not foresee prevented me from doing so — therefore

do not think badly of me for it — by word of mouth more

about it. — Best remembrances to General Bentheim — how

I wish he and especially you were here — if you find me a

strange person, possibly I could find something different in

you that was not strange — if only there are some good points

in common, that is sufficient to build a way to friendship.

Farewell ! well ! well ! Down with evil and hold your
head erect.

Your friend,

Beethoven.
N.E. Only write, and please give me your exact address.

To Herr von Varnhagen at Prague. To be delivered
with the parcel to the General, Count von Bentheim.

[According to the copy from the original in the manuscript
department of the Berlin Royal Library. On the copy is written :
"The original was presented to Herr Felix Mendelssohn, who, how-
ever, lost it." This letter was first published by Dr. Emil Jakobs
in Die Musik (second December number, 1904). It is specially
interesting to know that Beethoven was on friendly terms with
General Bentheim. Wilhelm Belgicus, Prince von Bentheim-
Bcntheim, major-general, was born April 1782, at Burg-
steinfurt, and died at Villafranca October 1839. In 1814 he
distinguished himself with the Austrian-German Legion which
he had established in the South of France. After the peace con-

BEETHOVENS LETTERS

257

eluded at Paris, he was entrusted with many diplomatic missions.
Further, from this letter we hear of Beethoven's acquaintance with
the Prussian General, Wilhelm von Willisen. This officer, born in
1790, served as general staff- officer in the Silesian army during the
campaigns of 1813 and 1814, and in 1815 he was a captain in Blücher's
staff. He was afterwards Professor of the Art and History of War
at Berlin. He died in 1879. His " Theorie des grossen Krieges "
in four volumes is a notable work.

CCXCIV To BREITKOPF & HAERTEL, Leipzig

Teplitz, 17th July, 1812.

We only say to you that we are here since the 5th July,
how ? — Concerning that there is not much to say ; in all
there are not so many interesting folk as last year, and fewer ;
the crowd appears less than few. — My rooms are not exactly
what I should like, but I hope soon to get better ones. You
will have received the corrections for the Mass — At the begin-
ning of the gloria I have written instead of common, alia breve
time and change of tempo. It was written so at first ; a bad
performance, at which the tempo was taken too quickly,
led me to it. As I had not seen the Mass for a long time it
struck me at once, and I saw that one has, unfortunately,
to leave such things sometimes to chance. — In the Sanctus
it might be indicated somewhere that at the enharmonic
change the flats might be taken away and sharps substituted
for them, thus :

l-r > I

Sane

tus

*sc

Sane

üpgfc

Do - mi - nus De - us Sa

e y * t t \ frg •

-v — * g i* uii-

ba - oth

258 BEETHOVEN'S LETTERS

instead of flats, the sharps to be kept here
(Nb. ! at B on the same line)

— Hr

2 3 3 5 §

— • m — m — # m —

9 — i i fc fe=
-sj — s] a g — d —

— * —

I could never hear this passage sung in tune by our
choirs unless the organist quietly gave the chord of the 7th.
Perhaps with you they are better — it will at least be well to
indicate somewhere that one could take the sharp in this
passage instead of a flat, as here indicated. (Of course it
will be added in print as here.) Goethe is here — farewell
and let me soon know something about your doings —

Your most devoted,

Ludwig van Beethvn.

Nb. II. Please add all you have printed of separate songs
of mine.

Nb. I.1? As the 50 thalers are not quite paid up, and even
if they were, it does not need very strong imagination to
consider the same as not yet paid ; we beg you, therefore,
either in return for the actual or imagined 50 thalers, to send
the following works in my name to a most amiable lady at
Berlin; namely, first the score of the Mount of Olives;
secondly and thirdly, both books of Goethe's songs, namely,
the one with 6, the other with 3 songs. The address is : —
" Amalie Sebald, Bauhof No. 1, Berlin " ; she is a pupil of
Zelter, and we are well disposed towards her.

Nb. II. You can also send me here some copies of the last
of the works ; one often wants such a thing for musicians,
when one sees that they are not likely to buy — I hope that
with your amiability you will carry out punctually my amiable
liberality with regard to A. S.

[According to the original manuscript in the possession of C.
Meinert of Frankfort- on-Main ; first published by the present
editor in Die Musik (second June number, 1906). This letter
belongs to the small number in which the composer employs technical
musical terms. The C major Mass is likely often to be performed,
hence the portion of the letter referring to it will be interesting to
conductors and welcome to them when studying it. " Goethe is
here," is written in the above letter. In this year both these

BEETHOVENS LETTERS 259

intellectual giants approached each other ; becoming, however,
conscious that they were totally opposed in character, they soon
separated. The letters A. S. refer to Amalie Sebald. On the very
same day Beethoven wrote a letter to a girl pianist aged from eight
to ten, as follows] :

CCXCV To EMILIE M. at H.

Töplitz, 17th July, 1812.

My dear good Emilie, my dear Friend !

I am sending a late answer to your letter ; a mass of
business, constant illness must be my excuse. That I am
here for the restoration of my health proves the truth of my
excuse. Do not snatch the laurel wreaths from Händel,
Haydn, Mozart ; they are entitled to them ; as yet I am not.

Your pocket-book shall be preserved among other tokens
of the esteem of many men, which I do not deserve.

Continue, do not only practise art, but get at the very
heart of it ; this it deserves, for only art and science raise men
to the God-head. If, my dear Emilie, you at any time wish
to know something, write without hesitation to me. The
true artist is not proud, he unfortunately sees that art has
no limits ; he feels darkly how far he is from the goal ; and
though he may be admired by others, he is sad not to have
reached that point to which his better genius only appears
as a distant, guiding sun. I would, perhaps, rather come
to you and your people, than to many rich folk who display
inward poverty. If one day I should come to H., I will
come to you, to your house ; I know no other excellencies
in man than those which causes him to rank among better
men ; where I find this, there is my home.

If you wish, dear Emilie, to write to me, only address
straight here where I shall be still for the next four weeks,
or to Vienna ; it is all one. Look upon me as your friend,
and as the friend of your family.

Ludwig v. Beethoven.

[According to Thayer (iii. 205). Thayer relates that Emilie M.
at H., was a little girl of eight or ten years old, who raved about
Beethoven. This dear child wrote under the guidance of her gover-
ness to the composer, and added to the letter a piece of hand-work,
a pocket-book which she begged the master to accept. And there-
upon followed the letter which has just been communiacted, a true
cabinet piece of art wisdom, in child-like language. We presume
that little Emilie learned by heart the touching letter, and that she

260 BEETHOVENS LETTERS

attended to the teaching therein in her after-life. What became
of her ? Thayer received the information from Herr Matthias Sirk,
from Graz, a city devoted to Beethoven.]

CCXCVI To the Attorney of the Exchequer,
VARENA, Gratz

Töplitz, 19th (?) July, 1812.

Very late am I in sending my thanks for all the dainties
sent to me by the worthy ladies ; constantly ill at Vienna
I was finally obliged to take refuge here. Meanwhile better
late than never, and so I beg you to give all kind messages
in my name to the venerable Ursulines. And then it does
not need so many thanks. I thank Him who placed me in
a position to be useful here and there with my art. As soon
as you wish to make use again of my small powers for the
benefit of the venerable ladies, you have only got to write
to me. A new Symphony is now ready for that purpose ;
as the Archduke Rudolph is having it copied, you will incur
no expense.

Perhaps in time there may be something else for singing,.
— I do not wish you to ascribe my willingness to serve the
venerable ladies to a certain vanity or seeking after reputa-
tion, that would very much vex me. If the venerable ladies
wish to show me some kindness, let them include me, together
with their pupils, in their pious prayers.

Best remembrances to you and assuring you of my respect
I am,

Your friend,

Ludwig van Beethoven.

I am still stopping here for a few weeks,
so if you find it necessary, write
to me.

[According to Jahn's copy among his Beethoven Papers in the
Royal Library, Berlin ; first printed by Nolü. Nohl and Thayer
give the date July 19 ; Jahn, on the other hand, July 9, 1812.
Either may be correct. From this letter we note Beethoven's religious
feeling.]

BEETHOVENS LETTERS 261

CCXCVII In the Album of the Singer, A. SEBALD

8th August, 1812.
Ludwig van Beethoven

Den Sie, wenn Sie auch wollten,*
Doch nicht vergessen sollten.

Töplitz, 8th August, 1812.

[According to Jahn in the Grenzboten, 1859. Thayer rightly
remarks that it ought to be 1811 and not 1812, as Beethoven was not
in Teplitz on August 8, 1812, but was there at that date in the
previous year. And of this mistake we are aware from the letter
to Chr. Tiedge and Elise von der Recke. The words indeed are
more fitting for the period anticipating.]

CCXCVIII To BREITKOPF & HAERTEL, Leipzig

Frantzens Brunn near Eger,

9th August, 1812-f

Only what is most necessary ; you have not got the title
of the Mass, and I have many things too much, taking baths,
doing nothing and etc., also other unavoidable things. I am
tired of chance things, surprises — you see and think I am
now here, but my doctor drives me from one place to another
in search of health, from Teplitz to Carlsbad, from there
back here. In C. I played to the Saxons and Prussians some
music for the benefit of those who had suffered from the fire
at Baden ; it was so to speak a poor concert for the poor —
Signore Polledrone helped me, and after he had once got rid,
as usual, of his nervousness, played well — " Seine Durchlaucht
dem Hochgebohrnen Fürsten Kynsky," something of that
sort for the title — and now I must refrain from writing any
more ; instead of that I have to go again and dabble about
in water ; scarcely have I filled my inside with a good
quantity of the same, than I have then to bathe myself all
over — very shortly will I answer the other points in your
letter — Court air suits Goethe more than becomes a poet.
One cannot laugh much at the ridiculous things that virtuosi

* Whom you, even though you wished,
Ought really not to forget.
| The climate here is such that one date the letter, November 9. [Beethoven's
own words.]

262 BEETHOVEN'S LETTERS

do, when poets, who ought to be looked upon as the principal
teachers of the nation, forget everything else amidst this
glitter.

Yours,

Beethoven.
[On a scrap of paper attached to the first page.]

I have just written for the full title of Prince Kynsky,
you will receive it however in good time, as I presume the
Mass will not come out before the autumn —

[According to the original manuscript in the possession of the
B. and H. firm ; first printed by La Mara. This letter from Franz-
ensbrunn gives new proof that Beethoven was no longer in Teplitz
on August 8 ; those lines in the album of Fräulein Sebald
therefore belong decidedly to the year 181 1. Concerning the concert
with the great violinist Polledro, something more will be said after
the next letter to the Archduke Rudolph. Let us notice carefully
the words which here refer to Goethe : for they give us the key to
the fact that already in Teplitz an estrangement between these two
geniuses had taken place.]

CCXCIX To the ARCHDUKE RUDOLPH

Franzensbrunn, August 12, 1812.

Your Imperial Highness !

It has already long been my duty to recall myself to
your memory, but partly being occupied about my health,
partly my unimportance caused me to hesitate. — In Prague
I missed Y.I.H. by one night, for when I went to pay my
respects to you, you had already left the night before. In
Teplitz I heard every day Turkish music four times ; that
is the only piece of musical news that I can offer. I was
a great deal with Goethe. From Teplitz my doctor Stauden-
heim ordered me off to Carlsbad, from there back again here,
and probably I shall have to return once again to Teplitz —
what a running about ! and yet how little certainty is there
that my present state of health will improve ! With regard
to the health of Y.I.H. I have up to now always received
most favourable news, also of your continued affection for,
and devotion to the Musical Muse. Y.I.H. will have heard
of the concert which I gave with the assistance of Signore
Polledro for the benefit of those who had suffered from
the fire at Baden.

BEETHOVENS LETTERS 263

The receipts amounted almost to 1000 florins, and if
the better arrangements I proposed had been carried out,
2000 florins would easily have been taken. As a matter of
fact it was a Poor Concert for the Poor. Here at the publishers
I only found some of my early pianoforte and violin sonatas.
As this Polledro insisted, I had to content myself with playing
an old sonata — The whole programme consisted of a Trio by
Polledro, my Violin-Sonata, then again something played
by Polledro, and finally an improvisation by myself. — Anyhow
I am truly glad that the unfortunate Baden people got
something from it. — Deign to accept my wishes for your
prosperity, and the request graciously to bear me in remem-
brance.

Yours, most obediently,

Ludwig van Beethoven.

[According to the original manuscript in the Gesellschaft der
Musikfreunde, Vienna ; first printed by Koechel. Giovanni
Battista Polledro, Beethoven's partner at the benefit concert, gave
several concerts at Vienna, in March 1812, and with great success ;
Beethoven, therefore, had a worthy partner. Polledro died in
1853 in his native city, Casalmonferato alia Piara, near Turin.]

CCC To BETTINA VON ARNIM

Teplitz [15th ?], August 1812.
Dearest, good Bettina !

Kings and princes can certainly create professors, privy
councillors and titles, and hang on ribbons of various orders,
but they cannot create great men, master-minds which tower
above the rabble ; this is beyond them. Such men must
therefore be held in respect. When two such as I and
Goethe meet together, these grand gentlemen are forced to
note what greatness, in such as we are, means. Yesterday
on the way home we met the whole Imperial family. We
saw them from afar approaching, and Goethe slipped away
from me, and stood on one side. Say what I would, I could
not induce him to advance another step, so I pushed my hat
on my head, buttoned up my overcoat, and went, arms
folded, into the thickest of the crowd — Princes and sycophants
drew up in a line ; Duke Rudolph took off my hat, after the
Empress had first greeted me. Persons of rank know me.
To my great amusement I saw the procession defile past
Goethe. Hat in hand, he stood at the side, deeply bowing.

264 BEETHOVENS LETTERS

Then I mercilessly reprimanded him, cast his sins in his teeth,
especially those of which he was guilty towards you, dearest
Bettina, of whom we had just been speaking. Good heavens !
had I been in your company, as he has, I should have produced
works of greater, far greater importance. A musician is
also a poet, and the magic of a pair of eyes can suddenly
cause him to feel transported into a more beautiful world,
where great spirits make sport of him, and set him mighty
tasks. I cannot tell what ideas came into my head when I
made your acquaintance. In the little observatory during
the splendid May rain, that was a fertile moment for me :
the most beautiful themes then glided from your eyes into my
heart, which one day will enchant the world when Beethoven
has ceased to conduct. If God grant me yet a few years,
then I must see you again, dear, dear Bettina ; so calls the
voice within me which never errs. Even minds can love
one another. I shall always court yours ; your approval
is dearer to me than anything in the whole world. I gave
my opinion to Goethe, that approval affects such men as
ourselves, and that we wish to be listened to with the intellect
by those who are our equals. Emotion is only for women
(excuse this) ; the flame of music must burst forth from the
mind of a man. Ah ! my dearest child, we have now for
a long time been in perfect agreement about everything ! ! !
The only good thing is a beautiful, good soul, which is recog-
nised in everything, and in presence of which there need be
no concealment. One must be somebody if one wishes to
appear so. The world is bound to recognise one ; it is not
always unjust. To me, however, that is a matter of no
importance : for I have a higher aim. I hope when I get
back to Vienna to receive a letter from you. Write soon,
soon, and a very long one ; in 8 days from now I shall be
there ; the court goes to-morrow ; there will be one more per-
formance to-day. The Empress rehearsed her part with him.
His duke and he both wish me to play some of my music,
but to both I made refusal. They are mad on Chinese
porcelain, hence there is need for indulgence ; for intellect
has lost the whip-hand. I will not play to these silly folk,
who never get over that mania, nor write at public cost any
stupid stuff for princes. Adieu, Adieu, dearest ; your last letter
lay on my heart for a whole night, and comforted me. Every-
thing is allowed to musicians. Great Heavens, how I love you !
Your sincerest friend and deaf brother,

Beethoven.

BEETHOVENS LETTERS 265

[Exactly according to the Nuremberg Athenaeum fur Wissen-
schaft, Kunst u. Leben, January 1839. This is the third and most
problematical of the three letters of Beethoven to Bettina. There
is no doubt that it was inspired by Beethoven. The question has
become more difficult since Bettina's great letter to Prince Pückler-
Muskau. This long letter is in vol. i. of the " Briefwechsel und
Tagebücher des Fürsten Hermann von Pückler-Muskau," published
by Ludmilla Assing. The letter contains not only many things
similar to "Goethes Briefwechsel mit einem Kinde" concerning
Bettina's personal intercourse with Beethoven, but also important
passages of the letter in question.

Among other things it is told how Beethoven gave Goethe " a
good talking to," " that one ought not to associate in dandy fashion
with princes and princesses, as Goethe does." " I," said Beethoven,
" have treated them differently. When I had to give lessons to
Duke Raimer, he kept me waiting in the ante-room, in return for
which I twisted his fingers about without mercy. When he asked
me why I was so impatient, I told him he had made me lose my
time in the ante-room, and that now I could not get patient again.
After that he never kept me waiting ; yes, and I had also shown
him that this was just an occasion to expose their brutishness."

This long epistle concludes with the following words :

" Then Beethoven came running towards us, and told us every-
thing, and was as pleased as a child at having teased Goethe —
What he said is word for word true, nothing essential has been
added. Beethoven related it several times in this way, and in more
than one respect it seemed to me of high importance. I told it
to the Duke of Weimar, who was in Teplitz, and quite teased him,
without telling him where I got it from. Isn't it a good story —
Can you make use of it ? Shall I write down another one to-
morrow ? "

The history of this third letter remains an extraordinary one.
Thayer, who quotes largely from it, is of opinion that the only
proof of its genuineness would be for the original letter to be pro-
duced and examined by experts. It is really time that a facsimile
was taken of this letter which contains so many genuinely Beet-
hovenish thoughts.]

266 BEETHOVENS LETTERS

CCCI To AMALIE SEBALD, Teplitz

lQth September, 1812.

I a tyrant ? ! Your tyrant ! Only misunderstanding
can allow you to say this, as if even this your verdict indicates
no sympathy with me. I do not blame you on that account ;
it is rather a piece of good fortune for you. — Since yesterday
I have not been quite well, since this morning I am worse ;
the cause of it is something indigestible which I have taken.
Irascible nature in me seizes hold, so it appears, of the bad
as well as the good ; do not apply this, however, to my
moral nature. People say nothing, they are only people ;
they see mostly in others what they are themselves, and that
is nothing at all ; no more of this, the good, the beautiful
needs no people. Without any assistance it is there, and
that appears to be the ground of our agreeing together. —
Farewell dear Amalie. If the moon shines this evening as
brightly as the sun in daytime, you will see the smallest
of small beings at your house.

Your friend,

Beethoven.

[According to the Or enzboten for 1859. Concerning the originals
of the Amalie letters, Thayer writes (iii. 464) : " The letters
to Amalie von Sebald and to Tiedge are in a public library in
New York. For copies of them we are indebted to Dr. Julius
Friedländer of Berlin, according to whom, on the other hand,
other copies were made and communicated to Professor Otto
Jahn, who afterwards published them in the Grenzboten."
Concerning this publication, Thayer, as I learned from himself,
was somewhat vexed. From the letter written in answer by Jahn
to Thayer we will only quote the words concerning these tender
letters. "They," writes Jahn, "gave me the greatest pleasure;
there are few letters of his equally tender and amiable." Concerning
the development of this love idyll I refer to my already named
article in the " Gegenwart " of November 1884. The letters will
here follow without break, as the date of each cannot be definitely
determined ; they are, however, all written in the September days
of 1812 at Teplitz, and are in themselves quite intelligible.]

CCCII To AMALIE SEBALD

[September 1812]

Dear good Amalie. Since I left you yesterday, I have be-
come worse, and since yesterday evening up to now I have not

BEETHOVEN'S LETTERS 267

been able to leave my bed. I wanted to let you have news
to-day, and then I thought that I should make myself appear
too important, and so did nothing. — What are you thinking
about in saying that you can be nothing to me ? we will
talk over that, dear Amalie, together. I have always wished
that my presence might give you rest and peace, and that
you would show yourself trustful towards me. I hope to
be better to-morrow and that there will still be a few hours
for us to spend and to enjoy together amid the beauties of
nature. — Good-night, dear Amalie, many thanks for the
proof of your kind intentions for your friend

Beethoven.
I will look through Tiedge.

[Amalie Sebald belonged to the Tiedge-Elise von der Recke
circle.]

CCCIII To AMALIE SEBALD

[September 1812]

I only announce to you that the tyrant is chained like a
slave to his bed — so it is ! I shall be very glad if I get through
with only the loss of this one day. My walk yesterday at
break of day in the woods, where it was very misty, has
increased my indisposition, and perhaps made my getting
better more difficult. Bustle about meanwhile with Russians,
Laplanders, Samoyedes, etc., and do not sing the song, " Es
lebe hoch " too much.

Your friend,

Beethoven.

[" Russians, Laplanders, Samoyedes "-is a humorous reference
to the Russian ladies and gentlemen who were in the Tiedge-Recke
circle.]

CCCIV To AMALIE SEBALD

[September 1812]

I am already better. If you think it becoming to pay
me a visit alone, I should be delighted ; but if you find it
unbecoming, you know how I honour the freedom of all
men ; and however you may act in this or any other case,
according to your principles or your caprice, you will always
find me well-disposed and your friend.

Beethoven.

268 BEETHOVENS LETTERS

CCCV To AMALIE SEBALD

[September 1812]

My illness does not appear to increase, but rather to
crawl on, so no standstill yet ! that is all I can tell you about
it. — I must give up the idea of seeing you at your house ;
perhaps your Samoyedes will let you off your journey to
polar regions, so come to

Beethoven.

CCCVI To AMALIE SEBALD

[September 1812]

Thanks for all that you find good for my body ; what is
most necessary has already been attended to — also the
obstinacy of the malady seems to be giving way. — I deeply
sympathise with you in the sorrow which the illness of your
mother must have caused you. — You know how much I
should like to see you, only I cannot receive you otherwise
than in bed. — Perhaps I shall be able to get up to-morrow —
Farewell dear good Amalie.

Your still somewhat weak,

Beethoven.

CCCVII To AMALIE SEBALD

[September 1812]

I cannot yet say anything decided about myself ; I now
appear to be better, now to go on in the old way, or to be
perhaps preparing for a long illness. If I could express my
thoughts about my malady in signs as definite as those in
which I can express my thoughts in music, I should soon
know how to help myself — even to-day I am still forced to
keep in bed. Farewell and rejoice in your health, dear
Amalie.

Your friend,

Beethoven.

CCCVIII To AMALIE SEBALD

[September 1812]
[In Amalie Sebald's handwriting :]
My tyrant orders a bill — here it is :

A fowl — 1 fl. Vienna value.

The soup 9 kr.
I truly hope this may be to your liking.

BEETHOVENS LETTERS 269

[In Beethoven's hand :]

Tyrants do not pay, but the bill must be receipted, and
that can be best done if you will come yourself NB. with the
bill to your humbled tyrant.

[With that the Amalie episode in Beethoven's life is for the
present as an end. Amalie returned to Berlin and there married
Councillor Krause (about 1815). She, however, continued to
blossom in Beethoven's remembrance. She was born in the year
1787, and was therefore about twenty-five years old when she enrap-
tured the suffering composer by her bewitching charms. It is
generally thought that Beethoven bore love from Amalie silently
in his heart for a number of years. It is possible that his impas-
sioned composition " Liederkreis an die ferne Geliebte " of the year
1816 had reference to the beautiful Teplitz period. In the same
year Beethoven writes to his former friend and pupil Ferdinand
Ries : " All kind messages to your wife, unfortunately I have
none ; I found one who probably will never be mine ; nevertheless
I am not on that account a woman-hater." In the same year he
spoke to the Giannatasio del Rio family in a similar strain : "He
was unfortunate in love ! Five years ago he had made the acquaint-
ance of some one union with whom would have been the highest
happiness he could have in life. There was no longer any thought
of it, almost an impossibility, a mere chimsera, yet he felt as on
the first day. This harmony he had not yet found. Yet it did not
get as far as a proposal, he however could not get it out of his
thoughts." Beethoven remembered her for many a long year.
In 1823 her name appears in the master's conversation books.]

CCCIX To BREITKOPF & HAERTEL, Leipzig

Teplitz, 17th September, 1812.
P.P.,

I am writing to you while lying in bed, Nature also has
her Etiquette. While again taking the baths here, it occurred
to me yesterday, early in the morning, to go into the woods
in spite of the mist ; for that licentiam poeticam I am suffering
to-day. — My iEsculapius has been leading me round in a
circle, although the best is here ; those fellows don't under-
stand how to make a show ; I think that in that matter we
are really more advanced in our art — It may be that I come
to Leipzig, but I beg you to be quite silent about it, for to
speak frankly, they no longer place any faith in me here in
Austria, and in that they are also right, and may not grant
me permission at all or very late, so that it would be too

270 BEETHOVENS LETTERS

late for the fair. I do not know anything more about what
will happen — but if you have any leisure, do write to me
your opinion about it. One thing more : can I perhaps
perform choruses, &c, without it costing too much ; I am
not very much in favour of mere virtuosity, but experience
has taught me that in singing matters, especially choirs, the
costs are uncommonly great, and then it often scarcely
pays one to have a fixed price, since one could have given
all that gratis without any fuss. — As I cannot really settle
anything for certain, I beg you to make no further use of
my intentions — farewell, do not study too much at the
Leipzig University, aesthetics might thereby be the loser —

Yours truly,
Ludwig van Beethoven.

[According to the original manuscript in the possession of the B.
and H. firm in Leipzig ; first printed by La Mara. The master's
" iEsculapius " at that time was Dr. Staudenheim or Staudenheimer.
Beethoven mentions choral singing at his house ; hence it is some con-
solation to know that at that time his deafness could not have been
very acute. See the reference to the " small company " which had
recommenced meeting, i.e., to sing {see Letter CCLXX).]

CCCX To the ARCHDUKE RUDOLPH

[1812 ?]
Your Imperial Highness !

Since Sunday I have not been well, suffering indeed more
in mind than in body. A thousand apologies if I have not
excused myself sooner, yet I had the best intention every
day to wait upon you. Heaven knows that in spite of the
best good-will which I have for my best of masters, I did not
succeed in doing so — however sad it makes me not to be able
to sacrifice everything to one for whom I entertain the highest
respect and whom I love and honour. Y.I.H. will perhaps
not act unwisely if this time with regard to the Lobkowitz
concerts you make a pause ; even the most brilliant talent
loses by practice.

With the deepest respect,
Your Imperial Highness's most faithful and most
devoted servant,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde Vienna; first printed by Koechel.

BEETHOVENS LETTERS 271

Beethoven, now in depressed condition, is all the more inclined to
affectionate respect for his Archduke who after the fall in paper
money espoused the composer's cause. The thought that the most
brilliant talent may lose by practice may appear somewhat para-
doxical. Beethoven probably wished to say that continual prac-
tising has a deadening effect. The general truth of this thought,
however, is opposed to the proverb " Practice makes the master,"
or " Genius is diligence," etc. Anyhow the statement is striking,
and sets one thinking.]

CCCXI To the Same

[1812 ? or 1813]
Your Imperial Highness !

As I see that you are not playing at Prince Lobkowitz's,
but still will spend the evening there, I shall have the pleasure
of waiting on you to-morrow about 5 o'clock in the afternoon.
Your Imperial Highness's most obedient,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by KoecheL]

CCCXII To the Same

[1812]
Your Imperial Highness !

I beg pardon if I cannot have the honour of waiting upon
you to-day. Some unexpected causes will not allow of it,
yet I will make use of your favour to venture to appear before
you to-morrow evening.

Your Imperial Highness's most faithful and obedient

servant,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; unprinted. It is one of the
numerous letters of excuse for not being able to give a lesson.]

CCCXIII To the Same

[December 1812]
Your Imperial Highness !

To-morrow very very early will the copyist be able to
commence the last number. As I myself, meanwhile, am
writing several other works, I have not hastened so very much

272 BEETHOVENS LETTERS

with the last movement for the sake of mere punctuality ;
and all the more, as in writing it I must take into considera-
tion Rode's style of playing. We are fond of rushing passages
in our finales, yet that does not suit Rode, and — it really
troubles me somewhat. — For the rest all will go right on
Tuesday. I beg to take the liberty of doubting whether I
can appear on that evening before Y.I.H., in spite of my
earnest desire to serve. Instead of that I will, however,
come to-morrow morning or to-morrow afternoon, so as quite
to satisfy the wishes of my noble pupil.

Your Imperial Highness's most obedient,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von Koechel.
Pierre Rode, the celebrated violinist and composer for his instrument
was born at Bordeaux in 1774, and in the course of a tour through
Austria came to Vienna in 1812 and gave concerts there in January
1813. Before his public appearance, a private concert was first
given in the palace of Prince Lobkowitz, at which the Archduke
together with Rode performed Beethoven's last violin Sonata
(Op. 96) which was dedicated to him. The last three movements
of this work had been only just written down ready for printing,
and — as we learn from this letter — many tilings in it were contrived
to suit the taste and style of playing of Rode. The work itself
appeared only in 1816 at Steiner's.]

CCCXIV To PRINCESS KYNSKY in Prague

Vienna, 30th December, 1812
Your Serene Hjghness !

The unfortunate event — which snatched away His Highness
Prince Kynsky, the late husband of Your Highness, from
his country, from the dear ones belonging to him, and from so
many whom he so generously supported, and which fills with
deep mourning all who are susceptive of what is great and
beautiful, affected me also in a way as strange as it was
grievous. The hard duty of self -maintenance compels me
to lay before Your Serene Highness a most humble request,
the justice of which, as I trust, will be sufficient excuse for
troubling your Highness at a moment when so many im-
portant matters are engaging your attention. Permit me,
Your Serene Highness, to place the matter before you.

It will without doubt be known to Y.S.H., that when I
received a call to Westphalia in the year 1809, His Highness,

BEETHOVENS LETTERS 273

Prince Kinsky, the late husband of Y.H., together with His
Imperial Highness, the Archduke Rudolph, and His Highness
Prince Lobkowitz, undertook to grant me a yearly sum of
four thousand gulden, if I would give up this appointment,
and remain in Austria. Although already at that time this
sum would not in any way bear comparison with what was
assured to me in Westphalia, yet owing to my preference for
Austria, also in recognition of this highly magnanimous offer,
I did not for a moment hesitate to accept it. His Serene
Highness, Prince Kinsky's share in this arrangement, was
1800 florins — which from the year 1809 was paid to me in
quarterly instalments by the Prince's treasurer. Subsequent
circumstances reduced this amount to a very small one ;
I, however, willingly accepted it, until last year the patent
appeared concerning the reduction of bank-notes into redemp-
tion bonds. I then requested his Imperial Highness, Archduke
Rudolf to allow the share which concerned His Highness,
viz., 1500 florins, to be paid to me for the future in redemption
bonds. In like manner Prince Lobkowitz agreed to the
same for his share, 700 florins.

As His Highness, Prince Kynsky, was at that time in
Prague, my most humble request was presented to His
Highness in the month of May of this year by Herr Varnhagen
von Ense, officer in the Vogelsang regiment, viz., that His
Highness's share of 1800 florins should, in like manner to the
other two, be paid to me in redemption bonds. Von Varn-
hagen, as may be seen in his letter which has been preserved,
states as follows : —

" Yesterday I had a conversation with Prince Kinsky on
the subject. Speaking of Beethoven in high terms of praise,
he at once acknowledged the claim, and from the time when
the redemption bonds came into force, agrees to pay the
arrears, also all future amounts, in this value. The necessary
orders have been given to the treasurer, and when Beethoven
is passing through this city, he can take up the money, or,
if he prefer it, in Vienna as soon as the Prince has returned
there. Prague, June 9, 1812."

A few weeks later, on my journey from Teplitz through
Prague, I was presented to the Prince, and received from
him full confirmation of this promise. Moreover His Highness
explained to me that he was perfectly sensible of the lawful-
ness of my request, and found it altogether just. As I could
not remain in Prague until the matter was quite settled,
His Highness graciously gave me on account 60 ducats,
i s

274 BEETHOVEN'S LETTERS

representing, as His Highness stated, 600 florins, Vienna
value. On my return to Vienna the arrears were to be
properly settled, and order given to the treasurer to pay
in future in redemption bonds — That was the decision of
His Highness. At Teplitz, my illness increased, and I was
compelled to stay there longer than I had at first intended.
I therefore sent through my friend, Herr Oliva, a most humble
reminder in writing to His Highness who was in Vienna
during the month of September, and His Highness again
graciously repeated to this gentleman his given promise,
adding, indeed, that in a few days he would make the necessary
arrangements with the treasurer.

Some time after His Highness left the city. — On my
arrival in Vienna, I inquired of the Prince's councillor whether
the matter of the amount due to me had been settled before
the departure of the Prince, and heard to my astonishment
that His Highness had left no orders. The testimony of
von Varnhagen and Oliva with both of whom His Highness
spoke, and to whom he repeated his promise, is proof that
my petition ought to be granted.

I also am convinced that the noble heirs and descendants
of this noble Prince will continue to act in the spirit of his
humanity and magnanimity, and fulfil his promise.

I therefore confidently place in the hands of your Highness
my most humble request " that the arrears of my annuity
be paid in redemption bonds, and that future amounts may
be remitted in the same value " ; and I expect that from a
feeling of justice, your decision in the matter will be most
favourable.

Your Highness's
most obedient,
Ludwig van Beethoven.
Vienna, December 30, 1812.

[The original is in the possession of Carl Meinert in Frankfort-on-
Main. Of the three letters written to the widowed Princess Kinsky
by Beethoven at the end of 1812 and early in 1813, this first one is
only signed by him. In 1812 Prince Kinsky, owing to a fall from
his horse, died. To his wife (See Beethoven's reference to her
Letter CCLXIX) the composer dedicated the Six Songs (Op. 75)
and the Three Songs (Op. 83), also the " Lied an die Hoffnung,'*
from Tiedge's " Urania " (Op. 94).]

BEETHOVENS LETTERS 275

CCCXV To the ARCHDUKE RUDOLPH

[Beginning of January 1813]
Your Imperial Highness !

I just happened to be out yesterday when your gracious
note came — as regards my health, it is about the same, the
more so as it is affected by moral causes which do not seem
as if they will so soon pass away ; the more so, as I now must
seek all help in myself and can only find the means thereto
in my own brain ; all the more, as at the present time neither
by word, nor by honour, nor by writing, does any one consider
himself bound — As regards my work, I am at an end with
one part of it and even without your gracious invitation
I should this day have presented myself at the accustomed
hour. — Concerning Rode, will Y.I.H. have the kindness to
send me by bearer the part, and I will then send it to him
with a billet doux from myself. The sending of the part he
will surely not take amiss, ah surely not, God forbid ; one would
be compelled to beg his pardon for so doing ; truly things are
not so bad as that. — Will it please you if I come this evening
about 5 o'clock as usual, or if Y.I.H. orders some other hour,
I will, as always, do my best to fulfil to the utmost your
wish.

Your Imperial Highness's most obedient
servant,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by Koechel. The
sentence about there being no respect for word, honour, etc., relates
to the unfortunate affairs with the heirs of Prince Kinsky, with
whom Beethoven had to go to law before he could finally obtain
his rights. For the rest the letter concerns another performance
of the violin Sonata. The words of Beethoven about Rode not
perhaps liking the part to be sent, etc., are quite enigmatical.
Perhaps Beethoven wished to make it understood that Rode's
playing, though still masterly, did not appear quite so free as in
former times.]

CCCXVI To N. VON ZMESKALL

4>th January, 1813.

We announce to you, dear Z., this and that, from which
you can choose the best, and we are terribly attached to you.

276 BEETHOVENS LETTERS

We hear that you have letters from Brunswick for us, and
beg you to send them to us. — Are you free to-day ? if so,
come to me at the " Swan " — if not we are sure to meet
somewhere else.

Your friend,
Autor,
Beethoven bonnensis.

[According to the original manuscript in the Court Library,
Vienna ; printed by Thayer (iii. 240.)]

CCCXVII To PRINCESS KINSKY

January — February 1813.
Honoured Princess,

As the Prince's councillor declared that my affair can
only be considered after the election of a guardian, and as
I now learn that your Highness in person has taken over the
guardianship, but will not speak with any one, I therefore
enclose my most humble request, and at the same time beg
for a very early settlement ; for you will easily understand
that when once one counts on a thing as safe, it is painful
to have to do without it for such a long time ; and all the
more so seeing that the support of an unfortunate brother
who is ill, together with his family, falls entirely upon me.
Without considering myself, I spent all my money in the
hope that when I received my annuity, I should at any rate
be able to provide for myself. For the rest, how just my
demands are, is shown from the fact that I made faithful
declaration of the 60 ducats which the late Prince himself
gave to me on account of the same, although the Prince's
councillor himself said that I could have kept silent about
the receipt of this sum, seeing that neither the late Prince
nor the treasurer ever made any reference to it. Forgive
me for having been so troublesome to you in this matter,
but necessity compels me to it. In a few days I shall take
the liberty of seeking information concerning it from the
Prince's councillor, or from any other source you may be
pleased to mention.

Honoured,

Your devoted servant,

Ludwig van Beethoven.

[According to the original manuscript in the possession of Carl
Meinert.]

BEETHOVENS LETTERS 277

CCCXVIII To PRINCESS KINSKY

,r TT {Vienna, February 12, 1813 ?1

Your Highness, l " J

You graciously stated, with regard to the annuity granted
to me by your late husband, that you fully perceived the
justice of my being paid the sum in question in Vienna value,
adding, however, that for this the consent of the higher
authorities concerned with the guardianship was imperative.

In the conviction that the higher authorities, who only
represent the noble wards, must decide in accordance with
those very principles by which the late Prince was guided
in his course of action, I feel that I need not entertain any
doubt as to the consent of these authorities, in that I can
prove the promise and the intention of the late Prince — by
which his children and heirs are bound — through well known,
esteemed and honourable men, and also myself confirm the
same. Moreover, what may perhaps be lacking from a legal
point of view to the form of this proof, will most certainly
be supplied, for the intentions of the princely house are noble,
and inclination to act worthily has been its characteristic
feature.

Quite another view arises through the condition of the
inheritance at the present time, for through the sad and
unforeseen death of his late Highness, yea, through the
conditions of the present period itself, the inherited estate
must be burdened with very many charges. For the moment,
therefore, an exact husbanding of all resources becomes a
necessity and a law. For this reason I also am not intending
in any way to lay stress on the greater claims which are
necessary to my own existence, and which are based on the
existing contract, and this must unquestionably be legally
binding on the heirs of the late Prince.

I therefore request your Highness graciously to cause
the sum due since September 1, 1811, to be paid to me in
Vienna value (1088 florins, 42 kreutzers) according to the
scale of the market on the day of contract, and meanwhile,
the question, whether and how long this annuity ought to
be paid to me in Vienna value, to be postponed until the
time when the inheritance is in order. Then it will be possible
to lay this matter before the authorities, so that by their
approval and verdict my just claims in this matter may be
realised.

Since His Highness, the late Prince himself, gave me, as

278 BEETHOVENS LETTERS

I myself have mentioned, the 60 ducats only on account of the
annuity granted to me in full Vienna value, and since —
as any intelligent man must assure Your Highness — this
agreement must either be accepted in its full meaning, or,
indeed, can show nothing to my disadvantage, it is self-
evident, and Your Highness will allow me to regard these
60 ducats only as on account of that sum granted to me in full
Vienna value, which I would have to claim, rather than the
previous scale-sum to be converted into money ; there can
therefore be no question of reckoning according to the un-
doubtedly fallen scale-sum. Your Highness, in conformity
with your noble intentions, will not misconstrue the justice
of my proposal, and my effort, so far as my circumstances
permit, to postpone, to your convenience, the settlement of
this matter ; and with those lofty intentions which induce
you to fulfil the promise made to me by the late Prince, you
will appreciate the necessity in which I am placed, and which
forces me once again to sue for the immediate direction to
pay the amount undoubtedly due.

So in joyful anticipation that my petition will be granted,
I have the honour, with infinite respect, to sign myself,
Your most devoted servant,

Ludwig van Beethoven.

[This letter, also in the possession of Carl Meinert, is only signed
by Beethoven.]

CCCXIX To GEORGE THOMSON in Edinburgh

Vienne le 19 Fevrier, 1813.

Monsieur George Thomson a Edinbourg,

J'ai recu vos trois cheres lettres du 5 Aout, 30 Oct. et
21 Dec. a : p : ; j'ai remarque avec bien du plaisir que les 62
airs, que j'ai compose pour vous vous sont enfin parvenus,
et que vous en etes satisfait, ä l'exception de 9 que vous me
marquez et dont vous voulez que je change les Ritournelles
et les accompagnements. Je suis fache de ne pas y pouvoir
vous complaire. Je ne suis pas accoutume de retoucher
mes composition ; je ne Tai jamais fait, penetre de la verite,
que tout changement partiel altere le Caractere de la Com-
position. II me fait de la peine que vous y perdez, mais vous
ne sauriez m'en imputer la faute, puis que c'etoit ä vous
de me faire mieux connoitre le gout de votre pays et le peu
de facilite de vos executeurs. Maintenant muni de vos

BEETHOVENS LETTERS 279

renseignements je les ai composer tout le nouveau, et comme
j'espere de sorte qu'ils repondront ä votre attente. Croyez-
moi, que c'est avec grande repugnance, que je me suis resolu
de mettre ä gene mes Idees et que je ne m'y serais jamais
prete si je n'avais reflechi que comme Vous ne voulez admettre
dans Votre Collection que de mes compositions, mon refus
y pourait causer une manque et fruster par consequence le
beaucoup de peine et de depenses que vous avez employe
pour obtenir un ceuvre complet. J'ai done remis ces 9 Airs
ä Mess. Fries et Cie., avec les autres 21, et j'en ai touche le
montant de 90 % ä raison de 3 £ par piece.

J'ai fait faire trois Exemplaires que Mess. Fries et Cie.
expedieront aux adresses prescrits ; l'exemplaire que vous
recevrez par la voie de Paris est celui que je trouve le plus
correct et le propre ä etre imprime, parceque dans cet exem-
plaire les notes sont le plus exactement rangees.

La plus part des abreviatures n'est pas applicable dans

l'imprimerie, il faudroit done mettre au lieu de Ig II i p

au lieu de Ä J j « | J i» -\ , etc. etc., au lieu de simile, il

cj* • • • •

faut toujours mettre les notes.

Le trio en gpjg No. 9, des derniers 10 Airs peut etre

chante avec la Basse ou Baritons, mais en ce cas la taille-
basse ne chante pas. — J'y ai ajoute encore un Basse pour
qu'il puisse etre chante en quatuor. La taillebasse doit
etre imprime dans la clef de Taille comme vous apprendrez
par la feuille y jointe. J'ai compose deux fois le No. 10,
des derniers 10 Airs. Vous pouvez inserer dans votre
collection le quel de deux vous plaira le plus. —

Les deux derniers Airs dans votre lettre du 21 Dec.
m'ont beaucoup plut. C'est pourquoi je les ai compose con
amore surtout l'autre de ces deux. Vous l'avez ecrit en

w£— 2— , mais comme ce ton m'a paru peu naturel et si peu

analogue ä l'inscription Amoroso, qu'au contraire il le
changerait en Barbaresio [? Barbaresco], je l'ai traite dans
le ton lui convenant.

Si ä l'avenir entre les airs que vous serez dans le cas de
m'envoyer pour etre composer il y avoit des Andantinos je
vous prierais de me notifier si cet Andantino, est entendu plus
lent, ou plus vite que l'Andante, puis que ce terme comme

280 BEETHOVENS LETTERS

beaucoup d'autres dans la musique est d'une signification
si incertaine, que mainte fois Andantino s'approche du
Allegro et mainte autre est joue presque comme Adagio.

Pour le reste j'approuve fort votre inttention de faire
adopter les Poesies aux airs, puisque le Poete peut appuyer
par le rythme des Vers sur quelques endroits que j'ai eleve
dans les ritornelles, p : e : dans l'une des derniers, ou j'ai

employe les notes de la Melodie äS=tzr]:=t= au ritornel.

*^ i. V i

Le Prix que vous dites avoir paye ä Haidn est tres modere ;
mais observ que Haydn n'a composes ni ritournelles, ni
cadences ä l'ouverture, ni Duos, et Trios, ni accompagnements
de violoncelle ; On ne peut don quant au travail pas du tout
paralelliser ses airs aux miens. Pour montrer cependant com-
bien j'aime ä composer pour Vous, je veux harmoniser les
40 airs mentiones dans votre lettre ä 140 jf en bloc. Si
cela vous convient, il vous plaira de remettre les melodies ä
Mrs. Fries et Co. le plus tot possible. Aussi je suis pret ä
composer les 12 Canzonettes et ne vous en demande que
50 jj. Pour 3 Sonates avec accompagnement de Violon
vous me payeres seulement 100 +x. J'y prendrais seulement
pour chaque de ces 3 Sonates un theme caracteristique
national, ou Autrichien, ou Ecosse ou Hongrois ; ou si vous
souhaitiez d'autres, celui qu'il vous plaira de me notifier.

Le Cours des Postes etant tout ä fait ouvert maintenant,
de sorte que les lettres de Londres arrivent ici en 30 jours,
vous pouvez me repondre bientot sur-tous ces ob jets, en
quelle attente je suis avec bien d'estime, Monsieur !

Votre tres obeis. Serviteur,

Louis van Beethoven.

[According to the original manuscript only signed by Beethoven
in the British Museum (Tr.). Cuthbert Hadden's opinion that
certain passages in this letter concerning retouching of his composi-
tions display " abruptness and hauteur " must certainly be rejected.
Beethoven speaks here solely with the well-justified self-conscious-
ness of the artist. Thomson, indeed, seems to have taken them in
good part. The letter contains an interesting contribution to the
problem of key characteristics. Beethoven, as is known, stoutly
defended the theory that each key had its specific quality ; hence
he was opposed to any transposition. His unfavourable opinion
of the key of A flat, is, however, in contradiction to his own works.
Is there anything barbaric in the theme of the A flat Sonata (Op.
26) ? or in the Andante of the C minor symphony ? These state-

BEETHOVEN'S LETTERS 281

ments of Beethoven are as interesting as they are enigmatical.
Anyhow the words of Beethoven with regard to another problem
of aesthetics, are freer from prejudice — viz., concerning the tempo
character of Andantino. It is still under discussion as to whether
it is to be taken faster, as fast, or less lively than Andante. The
matter is uncertain ; hence a composer must in each case exactly
state the rate he wishes for his Andantino (this is now done by means
of the metronome) ; for as Beethoven says " sometimes Andantino
is very nearly an Allegro ; on the other hand, it is often to be
played as Adagio."]

CCCXX To N. VON ZMESKALL

Vienna, 25th February, 1813.

My dear Z., I have been ill almost ever since I saw you ;
meanwhile the servant that you had before your present one
announced himself. I did not remember him, but he told
me that he had been with you, and that the only thing you
had against him was that he did not know how to dress hair
properly — I have as yet only given him 1 fl. earnest money ;
if, however, you have nothing worse against him, and I beg
you to tell me so frankly, I should decide for him, for, as
you know, hair-dressing is the last thing I think of ; before
I could do so, my finances would have first to be dressed
and frizzled. — I expect an answer still to-day from you ;
if they should not open the door to your servant, he has
only to leave your note on the left hand in the house, and if
there is no one there, below with the housekeeper.

Heaven bless you in your musical undertakings. — Yours,

Ludwig van Beethoven.

Miserabilis.

[According to the original manuscript in the Vienna Court
Library ; printed by Nohl. The composer signs himself
"Miserabilis," thereby denoting his wretched state in this year
1813.]

CCCXXI To N. VON ZMESKALL

[28th February, 1813]

To-day let us leave it so, dear Z., without seeing each
other, as I could only go out to-day immediately after
dinner. But my decision is already taken with regard to the
servant — I hope however, that we shall very soon see each

282 BEETHOVENS LETTERS

other and have a talk — farewell, watch diligently over
the fortresses of the kingdom which, as you know, are no
longer ma 'dens, and have already received many a shot.

Your friend,

Beethoven.

[According to the original manuscript in the Vienna Court
Library ; printed in part by Nohl. The reference to the fortress
with many a lesion, refer to Zmeskall as tyrant of Buda, as he is
called in a former letter, and to the not over-steady maidens.]

CCCXXII To VARENA, Attorney of the Exchequer,

J. Graz

[February — March 1813]
Worthy Sir !

Rode was not quite right in everything he said of me —
my health is not of the best — and, undeserved so far as I am
concerned, my position is one of the most unhappy of my
life — neither that, however, nor anything in the world will
prevent me from helping the innocently suffering convent
ladies, to the best of my ability, by means of my feeble work
— hence there are two new Symphonies at your service, an
Aria for bass voice with chorus, several detached small
choruses ; if you want the Overture of Hungary's Benefactor
which you already performed last year, that also is at your
service. — Among the choruses there is a Dervish Chorus a
good sign-board for a mixed public. — In my opinion, how-
ever, you would do best to choose a day on which you could
give the oratorio, the Mount of Olives, which has been per-
formed at a number of places. This then would make up
a half of the concert ; for the second half you could take a
new Symphony, the Overtures and various choruses, also
the above-named bass Aria with chorus — Thus there would
be plenty of variety ; however you had best discuss this
with the musical committee. As to what you say to me with
regard to a reward from a third person, I think I can make
a good guess as to whom you mean. Were I in my former
position I should certainly say : " Beethoven never accepts
anything when the good of mankind is concerned," — but
now, through my great benevolence, I have been placed in
a position, the cause of which I have no reason to be ashamed
of, also through other circumstances owing to men without
honour, without any respect for their word ; and I therefore

BEETHOVENS LETTERS 283

say straight to you that I should not refuse something from
a rich third person — but there is no question here of making
any demand. Should nothing come of this matter from a
third person, be convinced that even now, without the
slightest reward, I am only too ready to do anything for
my friends, the venerable ladies, as, indeed, at all times, for
suffering humanity, so long as I live.

And now farewell, write soon, and with the greatest zeal
I will attend to everything necessary — my best wishes for
the convent.

With respect

Your friend,
Ludwig van Beethoven.
[Address :]

To Herr Joseph von Varena, Gratz.

[According to the Niederrheinische Musikzeitung of 1862 (April
16 and 19), in an article by Prof. L. BischofT entitled " Ein Brief von
Beethoven." With regard to Rode, see Letter CCCXIII. The con-
vent ladies were the Ursulines at Graz. The two new Symphonies
were those in A (Op. 92) and in F (Op. 93). The Aria for bass voice
was No. 7 in the "Die Ruinen von Athen" (Op. 113), and the
stirring Dervish Chorus, No. 3 in the same work, which the composer
himself describes as a " good sign-board for a mixed public." The
here-named rich third person was Louis Bonaparte, King of Holland,
who in the year 1810 resigned his crown, and from that time lived
at Graz as Count von St. -Leu. The next letter to Varena refers
again to this ex-king.]

CCXXIII To N. VON ZMESKALL

[March 1813 ?J
Dear Zmeskall,

Please see to-day about the letter to Brunswick, that he get
it duly, and as quickly as possible. Forgive the trouble that I am
giving you — I have been again asked to send works to Graz
in Styria in order that a concert may be given for the benefit
of the Ursulines and the training convent ; already last year
by such a concert they made excellent receipts ; with this con-
cert and the other one which I gave in Carlsbad for the benefit
of the sufferers from the fire, I have already during this year
given three concerts, but to me every one turns a deaf ear.

Yours,

Beethoven.

284 BEETHOVENS LETTERS

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl. The original letter has not the
PSS. which were published by Nohl. They stand, however, on a
special sheet ; I here give them as No. CCCXXIIIa.]

CCCXXIIIa

One letter to Sclononitsch maitre des bureaux des postes
at Cassel. —

I cannot spare the books of Tiedge and Frau von der
Recke any longer, as I am responsible for them. —

Beethoven.

CCCXXIV To ARCHDUKE RUDOLPH

Mh April [1813 ?].
Your Imperial Highness !

I have again become worse, and it will probably be some
days before I am well again. I am truly inconsolable not
to be able to wait on Y.I.H. The weather appears, although
I have indeed blamed myself, to be the cause of my suffer-
ing. I only hope and pray that Y.I.H. will not have suffered
from it. I however hope that I shall soon be able to come
to my highly honoured pupil, through whose gracious sym-
pathy I feel consoled amidst my many sufferings and amidst
of late, many painful circumstances.

Your Imperial Highness's faithful and most

obedient servant,
Ludwig van Beethvn.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by Koechel.]

CCCXXV To the Attorney of the Exchequer
VARENA, Graz

Vienna, 8th April, 1813.
My worthy V. !

I receive with much pleasure your letter, but again
much displeased with the 100 fl. which our poor convent
ladies intended for me. I keep them meanwhile, and shall
employ them for the copying ; what remains over will be
sent back to the noble convent ladies with the statement of
the costs of copying ; I never take anything in this respect.
I thought perhaps the third person whom you mentioned

BEETHOVENS LETTERS 285

might be the former King of Holland, and that from him, who
perhaps took many things from the Dutch not altogether in a
lawful way, I need have no scruples, considering my present
position, in receiving something; but now I beg you most kindly
to say no more of the matter — write to me whether perhaps
if I came myself to Graz I could give a concert, and what
you think I should probably make by it, for unfortunately
Vienna can no longer be my place of residence ; perhaps it
is now already too late ; an explanation about this from you
will always be welcome. The works will be copied, and you
will have them as soon as possible ; with the oratorio do
whatever you please ; if it is any use to you, it will best
answer my intention.

With respect,

Your most devoted,

L. v. Bthven.
Kind messages to our worthy
Ursulines ; being again
able to be of use to them affords me great

joy-

[According to Jahn's copy among his Beethoven Papers in the
Royal Berlin Library ; printed from another source by Nohl.
The latter gives no date, Thayer (iii. 243) gives April 5, but Jahn
distinctly writes April 8, 1813, which most probably agrees with
the original.]

CCCXXVI To N. VON ZMESKALL

Vienna, 19th April, 1813.

The University Hall dear Z. is — refused — the day before
yesterday I received this news : Being ill yesterday I could
not come to you, neither can I come to-day to have a chat.
There is probably nothing left but to take the Kärnthnerthor
Theatre or the An der Wien, and I really think that one
concert is no good ; so we must take refuge in the Augarten
and give two concerts — my dear friend, turn the matter over
in your mind and let me know what you think. Perhaps
the Symphonies will be rehearsed to-morrow at the Archduke's,
if I can go out — but this I will let you know.

Your friend,

Beethoven.

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl. In this and the following letters it

286 BEETHOVENS LETTERS

is a question about the concerts which Beethoven thought of giving,
but which came off much later in the year.]

CCCXXVII To N. VON ZMESKALL

26th April, 1813.

Dear Z. Everything will go all right, the Archduke will
well pull Prince Fizlypuzly's ears — let me know whether you
will be dining to-day at the inn or at what time ? — then
I beg you to tell me whether " Sentivany " is correctly
written, for I want at once to write to him about the chorus.
I shall have also to settle with you what day we fix upon ;
for the rest you must not show that you know anything about
the intercession of the Archduke, for Prince Fizlypuzly comes
only of a Sunday to the Archduke, and if this wicked debtor
suspected something beforehand, he would try to slip away.

Yours always,

Beethoven.

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl. The finance matter is again to the
fore, in which the master, through the intervention of the Archduke,
hoped for the best as regards Prince Lobkowitz. This prince, with
his kind zeal but weak intellect, was for Beethoven, in spite of his
liking for him, a constant laughing-stock. The funny name " Fizli-
puzly " here means no other than Prince Lobkowitz, and the extra-
ordinary spelling of this name for the chief god of the Mexican
Aztecs need cause no wonder when one sees how incorrectly our
poets write this name. Neither " Fizlipuzly " nor " Vitzlipuztly "
is correct, but " Huitzilopochtli " or " Huitzilopochotl." Who
" Sentivany " is, it cannot be stated ; he appears to have been some
kind of theatre poet.]

CCCXXVIII To N. V. ZMESKALL

April 26, 1813.
For Herr von Zmeskall.
Sir

After the 15th of May, Lobkowitz will give me a day in
the theatre, which is practically no day at all — so I am
almost resolved to give up all thoughts of a concert — He
above will surely not let me be utterly ruined.

Your,

Beethoven.

[According to the original manuscript in the Vienna Library«]

BEETHOVEN'S LETTERS 287

CCCXXIX To N. VON ZMESKALL

[April 1813]

Meanwhile I thank you, dear Z., and only let you know
that the rehearsal will take place at the Archbishop's about
3 o'clock to-morrow afternoon — however, I shall give you
more precise information to-morrow before noon.
For the present I have given you notice of it.

Your,

Beethoven.
[According to Thayer (iii. 245).]

CCCXXX To the Same

[Spring 1813]
Dear Z. ! I should be very glad if still to-day towards
evening I could speak with you. It does not seem to me
that from such statements anything could be undertaken.
The Archduke said " if I see Lobkowitz, I will speak to him ; "
before that he said he thought that it was too late — farewell,
don't be offended.

Your,

Beethoven.

[According to the original manuscript in the Vienna Court
Library.]

CCCXXXI To ARCHDUKE RUDOLPH

[Easter 1813]
Your Imperial Highness !

It is not possible to have duplicates of the parts by eleven
o'clock to-morrow morning. The copyists are very busy
this week, so I believe you will graciously take Resurrection
Day next Saturday. By that time I shall certainly be quite
well, and better able to conduct. To-morrow this would
be difficult in spite of my goodwill. Friday I certainly hope
to go out, and to be able to pay my respects.

Yours most obediently,

Ludwig van Beethoven.

[According to the original manuscript in the Gesellschaft der
Musikfreunde.]

288 BEETHOVENS LETTERS

CCCXXXII To N. V. ZMESKALL

[Spring 1813 ?]
Dear Zmeskall,

Baron Schweiger begs you to be good enough to come to
him for a moment in the house of the Archduke ; if possible
at once, so that we may talk over all necessary arrangements
for the concert.

Your,

Beethoven.

[According to 0. Jahn's copy of the original manuscript in the
Vienna Court Library. Joseph von Schweiger, chamberlain to the
Archduke was very musical and took interest in all musical per-
formances in the Archduke's palace.]

CCCXXXIII To Private Secretary BAUMEISTER

Dear Sir,

I beg you to send me the parts, also my score of the
symphony in A. His Imperial Highness can have the music
back again at any time, but I want it for to-morrow's music
at the Augarten. As I have just received a few tickets, I
send them to you, and beg you to make use of them.

Yours respectfully,

Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna. The letter concerns the
spring concert to be given in the great Augarten.]

CCCXXXIV To BARON JOHANN VON PASQUALATI

[Spring 1813 ?]
Honoured Friend !

I beg you kindly to let me know early to-morrow through
your servant, how you have found the Lobkowitz matters
with regard to my annuity, for I have no more money. I also
do beg your brother to write to Prague, so that I may get
the Kinsky share, due since October. Pray pardon me, if
I have thus to trouble you ! I shall see you one of these days.

Your sincere friend,

Beethoven.

BEETHOVENS LETTERS 289

[According to Jahn's copy in the Berlin Library. Baron
Johann Baptist v. Pasqualati was one of Beethoven's most zealous
patrons. The friendship between the two remained unimpared
until the composer had drawn his last breath ; even on his death-bed
touching proofs of affection were shown him by the Baron. Beet-
hoven frequently lived in the Pasqualati house on the Mölker bastion ;
hence the almost proverbial saying of the Baron : " The rooms are
not to let, Beethoven is sure to come back." The Elegischer
Gesang (Op. 118) was dedicated to the Baron, and the Canon
" Ewig dein " is said to have been written for him. The former
was composed in 1814, and a revised copy has the following inscrip-
tion in Beethoven's handwriting : " To the glorified spouse of my
honoured friend Pascolati from his friend Ludwig van Beethoven."]

CCCXXXV To JOHANN VON PASQUALATI

[Spring 1813 ?]
Honoured Friend !

I have to return the money you kindly advanced, but I
would like to hand it to you myself, as I otherwise have some-
thing to talk about with you. Any time this afternoon will
suit me, also early to-morrow, if agreeable to you ; however
not too early, for the state of my health will not allow of this.
Also kindly let me know whether I should come to you at
your office in the Kohlmarkt, or to your house.

As always,

Your grateful and respectful,

L. v. Beethoven.

[According to Jahn's copy in his Beethoven Papers in the Royal
Library, Berlin ; first printed by the present editor.]

CCCXXXVI To N. VON ZMESKALL

10th May, 1813.

I beg you, dear Z., not to say a word about what I told
you regarding Prince L., as the matter is going forward, and
even without this step it would never be quite certain and
right — I have looked for you every day at the S. but in vain.

Yours,

Beethoven.
For Herr von Zmeskall !

[According to the original manuscript of the Vienna Court
Library, first printed by Nohl.]

290 BEETHOVENS LETTERS

CCCXXXVII To J. VARENA, Attorney of the
Exchequer, Graz

27th May, 1813.
My worthy V. !

To tell you beforehand what I am going to send you can
do no harm — perhaps you can make more or less use of it.
You will receive three choruses, which are not very long,
and which you could use for different parts of the concert —
A big scena for bass with chorus. It is out of " Die Ruinen
von Athen " and occurs just at the moment when the likeness
of our Emperor appears in sight (in Buda, in Hungary, it
came from below upwards). Perhaps you could do some-
thing of the kind, and delight the crowd. Also in case of
necessity the bass part could be changed into an alto. You
receive, however, only the score of all these parts. Had I
known what you would want there, I would have got them
copied here for you. To-morrow I receive the scores and
Herr von Oettich * will at once see about your getting them
— you will receive, besides, a March for instruments already
written out — instead of one Symphony you will receive two
Symphonies, the first, the one asked for, written out in duplicate,
the second, another which I do not think you have performed
in Graz, also written out — as all the other things are written
out, you will be able to see easily and in time what you want
of the vocal things, also in time to get them copied. Herr
von Oettig will find some special opportunity to let you have
everything as soon as possible, seeing that every one for such
a benevolent object willingly helps. Why can I not do
more for the good Ursulines. Willingly would I have sent
you two quite new Symphonies of mine, but my present
position forces me unfortunately to think of myself, and I
cannot know whether I shall not soon have to go away from
here ; this you owe to the excellent prince who has placed
me in this position of not being able, as usual, to do every-
thing good and useful — many thanks for your letter, likewise
thank the worthy ladies for the sweetmeats they sent me.

Your friend,

Beethoven.

[According to Jahn's copy in the Beethoven Papers at the

Royal Library, Berlin ; first printed by Thayer (iii. 245). This

letter, which testifies to Beethoven's delight in doing good, contains

new complaints about the present year of suffering. The men-

* Rettich according to some.

BEETHOVENS LETTERS 291

tioned Symphonies are those in A and F. How terribly Beethoven
suffered during the year 1813 is not only shown by the letters of this
year, but also by passages in the diaries. In the well-known diary of
1812 to 1818 (Fischhoff MS.) occurs the following : " A great under-
taking which it may be I shall give up, and so remain — Oh what a
difference an independent life such as I have often pictured to myself
— Oh terrible circumstances which cannot suppress my feeling for
a home life, but how to bring it about, O God, God, look down
upon the unhappy Beethoven, do not let it continue so."]

CCCXXXVIII To the Same

Dear V. ! ^ 1813J

In haste I only announce to you to take in place of the four
horns, if the first 2 should be found too difficult in perform-
ance, two violas, but solo parts ; the other 2 in C major are
easy and can be performed by the two horn players.

For the sake of my health I am hurrying to Baden so
that it may somewhat improve.

The expense for the copying of the scores amounts to
8 fl. 24 kr. when I get the receipt ; I have reckoned 3 fl.
for my servant to get all the things together, so that the
total is 11 fl. 24 kr. ; after the payment of this sum, I shall
hand you back the balance of the 100 fl. in a few days —
for the moment it is not possible.

In case you write to me, address the letter as follows :
To Herr Oliva to be delivered to the brothers Ofenheim in
the Bauernmarkt.

[According to Thayer (iii. 246) ; this letter is not among
Jahn's copies. It is instructive to find that Beethoven suggests that
two difficult horn parts should be played by solo violas. This
refers to the Overture to King Stephan (Op. 117), in which four
horns are employed ; horns in E flat and horns in C. Friend
Oliva, a literary man and a merchant, was formerly at Vienna, in
the service of Ofenheim and Herz in the Bauernmarkt.]

CCCXXXIX To the ARCHDUKE RUDOLPH

Baden, the 27th May, 1813.
Your Imperial Highness !

I have the honour to announce to you my arrival at Baden
where as yet there are very few people about, but Nature is
full to overflowing of enchanting beauty. If I fail in any-

292 BEETHOVEN'S LETTERS

thing, if I have failed, I beg you to graciously be lenient
with me, for so many fatal events following one another
have thrown me into most utter confusion, yet I am con-
vinced that the magnificent beauties of Nature, the beautiful
surroundings here will set me right ; and double quiet will
take possession of my soul, since by my stay here I am at
the same time complying with the wishes of your Imperial
Highness.

Would also that my wish to see you restored to perfect
health might soon be fulfilled ! It is indeed my most ardent
wish, and I am greatly troubled that by means of my art
I cannot do anything for your improvement in health or
your prosperity, only the goddess Hygeia can accomplish
this. I am really nothing more than a poor mortal who
commends himself to your Imperial Highness, and much
wishes that he may soon venture to approach you.
Baden, the 27th May, 1813.

[According to the original manuscript in the archives of the Gesell-
schaft der Musikfreunde, Vienna ; first printed by von Koechel.]

CCXL To J. VARENA, Attorney of the

Exchequer, Graz

Baden, the Uh July, 1813.
My dear Sir !

Forgive my late answer, the cause is always the same,
my troubles, contending for my rights, and everything pro-
ceeds very slowly. I have indeed to do with a rascal of a
prince, Prince Lobkowitz. Another noble Prince, quite a
different man, died, and as neither he nor myself thought
of his dying, he left nothing in writing about me ; this
matter must now be fought out in the law courts of Prague.
What a business for an artist to whom nothing is so dear as
his art ; and into all this perplexity I have been brought
through His Imperial Highness, the Archduke Rudolph. Re-
garding the works which you have received from me, I beg you
to send me back the following as soon as possible, for they
do not belong to me, namely : the Symphony in C minor, the
Symphony in B flat, the March — you can keep by you the
other pieces if you like ; I only beg of you not to give them
into other hands, as nothing has yet been published. Anyhow
the expenses will be deducted from the 100 fl. which I have
received from the venerable ladies, and which I have to send

BEETHOVENS LETTERS 293

back to you — as regards the Oratorio, there is no hurry,
as I do not want it — so only the three works named above.
My best thanks for the 150 fl. from the Society for the Preser-
vation of the Woods. My best respects to this esteemed
Society ; I am however ashamed about it ; why should the
small kindnesses that I have shown to the honourable women
be valued so highly ? I hope that my troubles will soon
be at an end, and that I shall come into full possession of
what belongs to me by right. As soon as this is the case I
will come in the autumn to Graz, and the 150 fl. shall at once
be taken into account. I will then give a concert, a great
one, for the benefit of the good Ursulines, or for any other
institution which may be proposed to me as the most needy
and the most useful — my respects to his Excellency the
Governor, Count Bissingen. Tell him that it will always be
with me a most pleasant duty to do for Graz anything in
my power.

Thanks for your picture ! why all this trouble ? I see
you wish to really make me greatly your debtor, hence I
name myself your debtor and friend,

Beethoven.

All kind messages to the venerable ladies and especially to
the Superior.

N.B. I am better in health and probably shall feel quite
well as soon as the moral causes which influence me have
passed away. As I am still in Baden I beg you to send the
music to Vienna to the same address as that of your former
letter.

[According to Jalm's copy in the Beethoven Papers in the Royal
Library, Berlin ; first printed by Thayer (iii. 247/). We here
perceive Beethoven in the middle of his troubles of the year 1813,
struggles, law-suits with his patrons. His anger about his beloved
honoured Archduke is to be set down to the punishment account of
the " rascal " Prince Lobkowitz, to whom the Archduke did not,
as he promised, administer a sound rebuke. Scarcely had the
composer brought his law-suit to a successful close, when there
began the endless worry of a new law-suit with regard to the
guardianship of his nephew. From the monograph, " Beethoven's
Beziehungen zu Graz," by 0. E. Deutsch, I take the full name of
the person here addressed, namely : Dr. Josef Ignaz, Edler von
Varena, lawyer in the higher courts, barrister in Styria, barrister fcr
the provinces, sworn public notary, &c. &c. ; he died in 1839.
The name of Count Bissingen appears here for the first time. He
was secret councillor and chamberlain, Governor of Styria-Carinthia.]

294 BEETHOVENS LETTERS

CCCXLI To the ARCHDUKE RUDOLPH

Vienna, 24>th July, 1813.
Your Imperial Highness !

From day to day I thought I should be able to return
to Baden. Meanwhile these dissonances detaining me here
will probably drag on until the end of next week — for me
to be kept in the city during the summer is a torture,
and when I reflect that thereby I am hindered from waiting
on your Imperial Highness, the torture is the greater and
still more annoying to me. Meanwhile it is really the affairs
of Lobkowitz and Kinsky which are keeping me here ;
instead of thinking about a number of bars, I have to make
notes about a number of calls which I must pay ; without
this I should scarcely live to see the end there. You
will have heard of the misfortune to Lobkowitz. He is to
be pitied, for to be so wealthy is no happiness ! Count Fries
is said to have paid to Duport alone 1900 ducats in gold, for
which the old Lobkowitz house served as a guarantee. The
details are beyond all belief — Count Rasoumouwsky, I hear,
will come to Baden and bring with him his Quartet ; and
this would be delightful, since your Imperial Highness would
thereby have good entertainment ; I know no greater enjoy-
ment in the country than quartet music. May your Im-
perial Highness graciously accept my most heartfelt wishes for
your health, also my regret at having to remain here under
such vexatious conditions. Meanwhile I will endeavour in
Baden doubly to make up for all that you are thereby losing.
Your Imperial Highness's most
obedient and faithful servant,

Vienna, the 24>th July, 1813.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von Koechel.
The annuity disputes lasted up to 1815 and still longer, until they
were finally settled to Beethoven's satisfaction. Duport was
ballet-master and dancer at the Court Opera ; he was afterwards
one of the lessees of the Royal Theatre, and in that capacity entered
into relationship with the composer concerning a new opera. The
famous Rasumowsky Quartet probably consisted at this time of :
Schuppanzigh (1st Violin), Sina ? ? (2nd Violin), Weiss (Viola),
and Linke (Violoncello). So says Schindler. Other authorities
make no mention of Sina, but state that Count Rasumowsky
himself generally took the 2nd Violin, being sometimes represented
by Mayseder.]

BEETHOVENS LETTERS 295

CCCXLII To the Same

[Summer 1813]
Your Imperial Highness !

With true pleasure I see that I can dismiss all anxiety
about the welfare of your Highness. I hope as regards
myself (for I find myself always well when I am able to give
pleasure to your Imperial Highness), that I shall very soon
be quite restored to health ; and then I will hasten to render
satisfaction both to you and to myself. As regards Prince
Lobkowitz, there is a pause, and I doubt whether he will
ever be able to get on, — and in Prague (good heavens ! as
regards the story about Prince Kynsky) they scarcely have
any knowledge of figured song ; for they sing in quite slow
choral notes, among which there are some of 16 bars | |

As all these dissonances seem to be slow of resolution, it is best
to create dissonances which one can resolve oneself, and leave
the rest to inevitable fate. Once again let me express my
great joy at your restoration.

Your Imperial Highness's most

obedient servant,
Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by Koechel. This
letter also recalls the terribly slow law-suit with the heirs of Prince
Kinsky, who are here symbolically expressed by the astonishingly
long mensural notes.]

CCCXLIII To ANDREAS STEIN

[Summer 1813 ?]
Dear Stein !

They want here in Baden 34 fl. a month for a wretched
piano ; and it seems to me that one might as well throw this
money out of the window. If you have only one of your
men whom you could spare, the matter would soon be
settled ! I would certainly pay him well !

Yes, the mattresses will have to be taken ! by means of
them and also straw, I think my instrument could be brought
without any danger to Baden. Please tell me what you
think : I go already on the 13th of this month to Baden ;
I shall still have the pleasure of seeing you.

Your friend,

Beethoven.

296 BEETHOVENS LETTERS

[According to Jahn's copy among his Beethoven Papers ; first
printed by Nohl. The person here addressed is Matthias Andreas
Stein, a brother of Nanette Streicher, nee Stein. They were members
of the famous organ-building family of Stein at Augsburg. After
Nanette had married Andreas Streicher, she founded the piano-
forte manufactory which afterwards became so celebrated, and
of which her brother Andreas had the technical direction.]

CCCXLIV To N. VON ZMESKALL

The list September, 1813.

If your servant is honest and knows of an honest one, for
me, you would show me a great kindness in letting your
honest servant find an honest one for me — I wish in any case
for a married man ; not that I expect greater honesty from
him, but probably more order. At the end of this month
my present beast of a servant is going away, the new servant
can therefore come in at the beginning of next month —
since yesterday I have had to keep in on account of my cold,
and shall probably have to do so for several days — if you
wish to come and see me, let me know at what time. As I
give no livery, with exception of a cloak, my servant gets
25 fl. per month. Forgive dear Zmeskall,

Your friend,

Beethoven.

[According to the original manuscript in the Vienna Court
Library ; first printed by Thayer (iii. 255). The contents of this
letter are again about servants ; it appears that the " beast of a
servant " found grace with the severe master.]

CCCXLV ,To the Same

[September^ 1813 J]

Highest born ! Clarissime amice ! my former quill cutter
isl probably praying above for me that I may soon be able
to write without pens — read this about the Chronometrie
tempo indication — it appears to me the best I have seen on
the subject — we will shortly speak about it — please do not
lose it.

In haste your,

Beethoven.

[According to the original manuscript in the Vienna Court Library ;
first printed by Nohl. Matters concerning the metronome caused

BEETHOVENS LETTERS 297

lively discussions at that time ; Beethoven himself took great
interest in them, likewise friend Zmeskall. This note may there-
fore belong to this autumn.]

CCCXLVI To the Same

[September 1813]

Dear Z., I am off to-day — do" not forget my Degen means
of help, and come soon to Baden as the weather is beginning
to be fine.

Your friend,

Beethvn.

[According to'"?, the original manuscript in the Vienna Court
Library ; first printed by La Mara. Concerning the " Degen means
of help" see notes to Letter CLIX.]

CCCXLVII To the Same

8th October, 1813.

Dear good Z., although the title is perhaps not quite right,
kindly explain by word of mouth to your servant that he
has to hand in the letter at the ordinary Servants' Registry,
and tell them to send me the servants from 7 o'clock in the
morning up to half-past 8, and continue to do so until I give
notice for them to stop. After all, it would be best also
to add my address here.

Forgive my troubling you, dear Z. and in case of need
you have only to command notes from your friend,

Beethoven.

[According to the original manuscript in the Vienna Court
Library ; first printed by La Mara. In this letter concerning servants
appears Beethoven's favourite play with the words "Note und
Noth " (note and need), and probably for the first time. See Preface.]

CCCXLVIII To the Same

Dear good Z., do not be angry if I ask you to write the
enclosed address on the enclosed letter. The person to whom
it is addressed is always complaining that he gets no letters
from me ; yesterday I took a letter to the post, and they
asked me where the letter was to go to ? I see therefore
that my writing, as often happens to myself, is misunderstood.
Hence my request to you.

Yours,

Beethoven.

298 BEETHOVEN S LETTERS

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl.]

CCCXLIX To the Same

[November 1813]

As you are quite willing, I shall change your refusal into
an invitation, and expect you in the afternoon.

In haste yours,

Beethoven.

[According to the original manuscript in the Vienna Court
Library ; first printed by La Mara.]

CCCL

Kurz ist der Schmerz, und ewig ist der Freude.
Three-part Canon Composed for Naue,

November 3, 1813.

[This Canon is in the B. and H. edition of Beethoven's works.
Dr. Joh. Friedrich Naue Mas born at Halle, November 1787.
Through Turk's influence he devoted himself to music, and in 1813
became his successor as music director at the University. His
Evangelisches Choralbuch (1819) won him the favour of Friedrich
Wilhelm III. In the autumn of 1813, not long before Beethoven's
great concert in December, he arrived in Vienna, and became on
friendly terms with the composer. Naue was highly esteemed as
a musical theorist. In 1815 Beethoven wrote another canon for
Spohr to the same words.]

CCCLI To the ARCHDUKE RUDOLPH

[Beginning of December 1813]

I am asking myself whether, as I am in fairly good health,
I should wait upon you this evening ? At the same time
I take the liberty to place before you a most humble request.
I hoped that at least my troubled circumstances would have
improved by now, but — everything is as before. Hence I
must decide to give two concerts ; my former resolve only
to give such concerts for benevolent purposes, I have had to
abandon, for self-maintenance will not allow of it. The
University Hall would be the most advantageous and the
most honourable for my present purpose, and my most humble

BEETHOVENS LETTERS 299

request consists in this, that your Imperial Highness would
graciously send a word to the Rector magnificus of the
University through Baron Schweiger ; in that case I should
certainly get the Hall. Awaiting your gracious compliance
with my request, I remain,

Your Imperial Highness's most
obedient,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von Koechel.
The two concerts actually took place on December 8 and 12
in the University Hall, and were epoch-making events in the life of
the composer.]

CCCLII To BARON JOSEPH VON SCHWEIGER

[Beginning of December 1813]

Dear friend ! I have to-day in writing requested the
most gracious master to plead for me, so that I may have the
University Hall for two concerts which I am thinking of
giving, and, since everything remains as before, must give.
Whatever good or evil fortune may come, I always look upon
you as my best friend, and have therefore begged the Arch-
duke to get you to speak for me in his name to the present
Rector of the University. Whatever may be the result,
I beg you to make known to me as soon as possible the decision
of our most gracious master, so that I may see how I can
extricate myself and my art from this fatal position — this
evening I will come to the Archduke.

Your friend,

Beethoven.

[According to the original manuscript in the archives of the
Gesellshaft der Musikfreunde, Vienna ; first printed by von Koechel.]

CCCLIII To NEPOMUK HUMMEL

[Between the 8th and 12th December, 1813]

Dearly beloved Hummel ! Please conduct this time
the drum-heads and the cannonnades with your excellent
conducting Field-Marshal staff — please do this ; and if one
day you may want me to praise you, I am at your service
body and soul.

300 BEETHOVENS LETTERS

[According to Nohl. This letter shows us, as Nohl rightly states,
that the friendship between Beethoven and Hummel had long
been restored.]

CCCLIV Letter of Thanks

[December 1813]

I consider it my duty to thank all the worthy members
who took part in the concerts given on the 8th and 12th of
December for the benefit of the Imperial Austrian, and Royal
Bavarian warriors wounded at the battle of Hainau, for the
zeal displayed by them in so worthy a cause. (It was a rare
union of distinguished artists, in which each and all, fired
with the thought of being able to be of some service to the
fatherland, without any order of precedence, and even in
subordinate places, worked together, and with excellent
results.) Herr Schuppanzigh stood at the head of the first
violins, and by his fiery, expressive playing carried with
him the whole orchestra ; also the chief capellmeister, Herr
Salieri, did not hesitate to beat time for the drums and
canonnades, while Herr Spohr and Herr Mayseder, each
through his art worthy of the highest leadership, sat at
second and third desks. Herren Siboni and Giuliani also
occupied subordinate places. (The conductorship of the whole
fell to me because I had composed the music ; had it been
by some one else, I would as willingly, as Herr Hummel, have
taken charge of the bass-drum, for we were all animated by
pure feelings of love for our country, and joyfully devoted
our powers for those who had sacrificed so much for us.)
(Herr Maelzel indeed deserves special thanks, in that he, as
enterpriser, first conceived the idea of this concert, while to
him afterwards fell the most trying part, viz., making the
necessary preliminary arrangements and attending to all
details.) And I must also specially thank him, for through
this concert he gave me the opportunity [to produce] this
composition solely composed for this public benefit, and works
handed over to him and to see fulfilled — the ardent wish
long entertained by me, in the present circumstances, to
be able to place an important work of mine (it is well
known that the idea of the work on Wellington was my
own idea) on the altar of the Vaterland. As, however, a
list will shortly be printed of all who co-operated on this
occasion, and of what parts they undertook, the public will
see for itself with what noble self-denial a number of great
artists worked together for one great aim.

BEETHOVEN'S LETTERS 301

The coming together of the chief M. [Masters] was through
my encouragement.

[According to the original manuscript among the Schindler
papers in the Berlin Library. Of the two concerts (December 8
and 12, 1813) Schindler says : " We stand before one of the most
important moments in the life of the composer, in which all hitherto
dissentient voices, with exception of a few professionals, united in
proclaiming him worthy of the laurel." From this concert dates
Beethoven's popularity in Vienna. The here given letter of thanks
was not published by Beethoven, and probably because of the
disagreement with Maelzel, of which letters of the following year
will make mention.]

CCCLV To ?

[About the middle of December 1813]

Baumann the actor who had to speak with me to-day,
thinks that the prices should be fixed at 1 and 2 fl., namely,
the lower seats 1 fl., the higher ones 2 fl., as the things have
already been given twice.

[According to Nohl. The original at that time (1867) was in
the possession of the painter Amerling of Vienna. The letter
evidently concerns the A major and the " Battle " symphonies,
to be given at lower prices, which in fact took place in the
following year (1814). To whom the note is addressed cannot
be determined.]

CCCLVI To N. VON ZMESKALL

[1813]

Dear Z. as soon as you can spare your servant for a
moment this afternoon, please send him to me, I want him.
At the same time tell me whether I am bound to-morrow
to give the servant the whole day for moving.

Yours in haste,

L. v. Beethoven.
To Herr von Zmeskall von
Domanovez.
[According to the original manuscript in the Vienna Court Library.]

CCCLVII To the Same

[1813]

It was not possible dear Z. to see you during my stay here.
I beg you not to forget my wish. I do not want to see the

302 BEETHOVENS LETTERS

servant, provided you have proper testimonials for his trust-
worthiness or his respectability, for one seldom gets all one
wishes — such a man could come to me already in the middle
of this month, NB. or at latest at the end — (from Baden I
will write to you on the matter) —

In haste,
Your friend Beethoven.
Forgive the unshapely paper and writing.
N.B. The servant's month begins every month on the
25th, so at the half-month or even up to the 23rd.

[According to the original manuscript in the Vienna Court
Library ; earlier, according to Jahn's copy ; printed in the editor's
" Neue Beethovenbriefe."]

CCCLVIII To the Same

[1813]

I am dining likewise at home, and cannot venture out in
such weather — still I may come and see you for a few moments.
My curses on such people.

[According to the original manuscript in the Vienna Court
Library ; printed in the editor's " Neue Beethovenbriefe. ]

CCCLIX To DR. VON BEYER, Prague

Vienna, 18th December, 1813.
My worthy Friend !

Thus I name you, and so I will embrace you one day.
Already several times have I cursed this unhappy decree, since
through it I have fallen into endless trouble. Oliva is no
longer here, and it is unbearable to me to lose so much
valuable time on such matters ; I rob my art, for nothing
is done — I have now sent fresh legal opinion to Wolff. He
intends beginning the law-suit, but I think it best, as I have
indeed written to Wolf, that a petition should be handed in
to the Law Court — do yourself help in the matter, and do
not let me come to grief, surrounded here by numerous
enemies ; in everything which I do, I feel almost in despair.

My brother whom I loaded with benefits, for whose sake
I am now for the most part in misery, has become — my
greatest enemy ! Embrace Koschak in my name, and tell
him that my experiences and my sorrows would fill a book

BEETHOVEN S LETTERS 303

— I would willingly have taken the whole business from
Wolf and handed it over to you, but we should only have
made new enemies — only attend to your part — more about
this shortly — and send me your street and the number where
you live, also the same for Koschak, for I always have to
send you my letters through other people. Please acknow-
ledge receipt of this at once.

Yours,

Beethoven.

[According to the original manuscript in the possession of
C. Meinert, Frankfort; first printed by the editor in Die Musik. In
this letter to Dr. Beyer at Prague there appears a hitherto unknown
personage in the history of Beethoven. It is the period of the trial
with the heirs of Kinsky regarding the annuity. For Beethoven,
the lawyers of Bohemia, especially at Prague, were for a long time
the most sought-after inhabitants of the world, and this Dr. Beyer
is now one of great importance. Every new Prague lawyer appears
to the master seeking for help, as a new star dropped down from
heaven. We know already of one lawyer at this time to whom
Beethoven entrusted his business, and this was Dr. Wolf, about
whom Beethoven indulged in grim jokes in his letters to the better
lawyer, Dr. Kanka. The third is Dr. Beyer, to whom this letter is
addressed ; while through him Beethoven sends greeting to a
fourth lawyer, Dr. Koschak, a name which is of deep importance
in the history of Beethoven. Weighty is the complaint about his
brother ; he can only mean Carl, of whom, formerly, he was so
fond.]

CCCLX To N. VON ZMESKALL

[1813 ?]

Dear Z. I also am again a poor sick creature — perhaps
to-morrow early you shall however know what we are doing
— I may perhaps see you if I should happen to go out this
evening.

Your friend,

Beethoven.

[According to the original manuscript in the Vienna Court
Library.]

CCCLXI To the Same

[1813 ?]

In your house you are in the Chancery, in the Chancery
unwell ; the truth lies probably in the middle — and I beg you

304 BEETHOVENS LETTERS

at once to let me know when I can' speak to you to-day, and
for that, to send at once your servant. There is haste in
the matter.

Beethoven.

[According to the original manuscript in the Vienna Court
Library ; printed by the editor in his " Neue Beethovenbriefe," p. 10.
What aurea mediocritas may here have passed through Beethoven's
mind? Was there, perhaps, an inn, the "middle" between
Zmeskall's house and the State Chancery ?]

CCCLXII To N. VON ZMESKALL

[December 1813]

Dear Z. I am not well, thank you for the note you sent
me — and I had hoped to have spoken to you for a moment,
still I hope to see you to-morrow or the day after.

Yours,

Beethoven.

[According to the original manuscript in the Vienna Court
Library ; first printed by La Mara.]

CCCLXIII To the ARCHDUKE RUDOLPH

[1813]
Your Imperial Highness !

Not presumption, not as if I ought to venture to plead
for any one, neither can I boast of being in special favour
with your Imperial Highness, nothing of the kind causes me
to put before you a matter of great simplicity. Yesterday
evening old Kraft was at my house ; he wondered whether
it would be possible for rooms to be given him in your palace ;
in return he would be at the service of your Imperial Highness
as often as he was wanted. He has been for twenty years
in the house of Prince Lobkowitz, and for a long time
without receiving any salary ; now he is obliged to give
up his rooms without receiving any compensation. The
situation of the poor worthy old man is a hard one, and I
should certainly become guilty of hardness myself if I did
not venture to put the matter before you. Trojer will
request an answer from your Imperial Highness. As the
matter concerns the easing of the position of a human
being, your Imperial Highness will, of course, excuse your
faithful and obedient servant,

Ludwig van Beethoven.

BEETHOVENS LETTERS 305

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von Koechel.
" Old Kraft," for whom Beethoven here intercedes, was the 'cello
player, Anton Kraft, born 1751. In the year 1795 he left the
chapel of Prince Grassalkowitz, and entered the service of Prince
Lobkowitz, wherein he remained up to his death in 1820. Beet-
hoven highly esteemed old Kraft. In a letter he says, " I do not
deny that his playing gives us all the highest pleasure." Here,
and often afterwards, occurs the name of Count Troyer. Who he
was cannot be exactly determined. The Troyers were an old
Luxemburgh noble family. The most famous bearer of this name
was Count Julius Troyer, Cardinal and Prince-Bishop of Olmiitz,
who died in 1758. The Count Troyer here mentioned, a friend of
the Archduke Rudolf, was perhaps Count Joseph, Cassian von
Troyer at Thurn and Aufkirchen, who lived from 1782-1866.]

CCCLXIV To the Same

[1813]

As the time from 5 to 6 is too short, will it not be better
if I come about 4 o'clock ?

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna. This unprinted note was
either addressed to the Archduke himself or to his chamberlain,
Baron J. von Schweiger.]

CCCLXV To N. VON ZMESKALL

[1813]
You can read this to the people, such is the true state of
things ; my fault is to have given ear to compassion. Mean-
while it is a warning to me. You will do best to let them
come in the morning, and treat them severely and with scorn,
which they both deserve on my account.

Yours in haste,

L. v. B.
[According to the original manuscript in the Vienna Court
Library; unprinted (?). This note concerning servants appears to
be only a postscript.]

CCCLXVI NOTICE

[Dec. 31, 1813]
MUSICAL ACADEMY

The wish expressed by many amateurs, whom I hold in
high respect, once again to hear my great instrumental

306 BEETHOVENS LETTERS

composition on Wellington's Victory at Vittoria, renders it
my pleasant duty to announce herewith to the worthy public,
that on Sunday, January 2, I shall have the honour, with
the assistance of the most excellent artists of Vienna, of
performing the said composition together with new vocal
pieces and choruses, in the great Imperial Redoutensaal.

Tickets can be obtained daily at the Kohlmarkt, in the
house of Baron Haggenmüller in the court on the right,
ground floor, in Baron Pasqualati's office. For the pit 2,
and for the gallery 3 gulden.

Ludwig van Beethoven.
From the Wiener Zeitung.

CCCLXVII To COUNT MORITZ VON LICHNOWSKY

[December 1813]

Worthy Count, if you wish to assist at our consultation
I point out to you that it will take place this afternoon at
half -past three in the Spielmann house in the Graben, 1188,
on the fourth floor. I shall be greatly pleased if your time
permits you to be present,
at Herr Weinmüller's

(Adr. :) For Yours always,

Count Moritz Lichnowsky Beethoven.

[According to the original manuscript in the Royal Library,
Berlin ; first printed by Nohl. I have here taken Thayer's date.
Nohl's statement that the contents point to the help of the singer
Weinmüller in the revival of Fidelio is, however, not to be at once
thrown aside ; in that case, the note would refer to the first months
of the year 1814.]

CCCLXVIII To N. VON ZMESKALL

New Year, 1814.
Dear worthy Friend !

All would be well if there were a curtain, without this,
the aria will be a failure ; I only heard of this to-day from
S., and it grieves me ; let it be only a curtain, even though
it be a bed-curtain, or some kind of screen that can be re-
moved in a moment, or some gauze, etc. There must be
something, the aria is written for the theatre in too dramatic
a style to produce any effect in a concert ; without curtain,

BEETHOVENS LETTERS 307

or something similar to it, all meaning will be lost! — lost!
— lost ! — everything will go to the devil ! The court will
probably come. Baron Schweiger earnestly begged me to
go there, Archduke Charles gave me audience and promised
to come. — The Empress did not promise, neither, on the

other hand, did she refuse Curtain ! ! ! ! or the aria and I

will be hung to-morrow morning. A happy new year to you,
I press you to my heart as much as in days gone by. With
curtain or without curtain.

Your,

Beethon.

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl (B.B.). The person indicated by
S., was either v. Seyfried or Schuppanzigh. In a notice of the
concert in the Viennese Dramaturgischer Beobachter, edited by
Carl Bernard, it is related concerning the aria from the " Ruins
of Athens," sung by Weinmüller, that "the letting down of a
curtain suddenly disclosed the portrait of our adored monarch,
and all present shouted with joy."]

CCCLXIX To N. VON ZMESKALL

[January 7, 1814]

Dear Z., if you would copy these small calculations, you
would probably always find them of use, and this I consider
very good. Enclosed is from a letter I received yesterday
from Scotland. Arrange for us to see each other soon.

Your friend,

Beethoven.
Pour Monsieur de Zmeskall.

[According to the original manuscript in the Vienna Court
Library. The word " Scotland " recalls the master's corre-
spondence with George Thomson, of Edinburgh.

CCCLXX EXPRESSION OF THANKS

January 24, 1814.

In the concert given by me on the 2nd of January,
I had the good fortune to find myself supported in the per-
formance of my works by a great number of the most dis-
tinguished and most renowned artists here, and to know
that in the hands of such performers my works had been

308 BEETHOVENS LETTERS

presented to the public in so brilliant a manner. These
artists may already have felt themselves sufficiently rewarded
through their zeal for art, and the enjoyment, which, through
their talents, they created for the public ; yet it is still my
duty publicly to convey to them my warmest thanks for
their friendly feeling towards me, and for their willing support.

Ludwig van Beethoven.

[The above, communicated by Thayer (iii. 267), appeared in
the Wiener Zeitung, on January 24.]

CCCLXXI To COUNT FRANZ VON BRUNSWICK

The 13th February, 1814.
Dear Friend and Brother !

You lately wrote to me, I am writing to you now — you
probably rejoice at all conquests — also at mine. On the
27th of this month I give a second concert in the great
Redoutensaal — come to it — you know now. Thus I am
gradually rescuing myself from my misery, for I have not
yet received a farthing of my annuity. Schuppanzigh wrote
to Michalcowicz to ask whether it would really be worth
while to come to Buda, what do you think ? Something
would have to be performed in the theatre. My opera will
also be given on the stage, but I am making many changes.
I hope you are living happily, which is not a small thing.
So far as I am concerned, yes, indeed often, my kingdom
is in the air ; as often the wind, so my tones whirl, so is it
within my soul. I embrace you.

Your friend,

Beethoven.

[(Outside :) A Monsieur le Comte Francois Brunswick a Bude
en Hongrie.

(In a strange hand :) Herr Von Beethoven at the Bartenstein
House on the Mölker bastey, No. 94 on the first floor.

The contents make known to us the great new plan of the master
in this year 1814; first, the great concert in February and then the
work connected with the revival of Fidelio. The here-named
Michalcovics was the same royal draughtsman who was formerly
mentioned in a letter to Zmeskall (No. CLXXXIX).]

BEETHOVENS LETTERS 309

CCCLXXII To the Singer ANNA MILDER

[February 1814]
My worthy M. !

To-day I wished to come to you, but it is not possible,
you yourself will understand how many things one has to
see to in connection with a concert — only this much, Maelzel
had no order whatever to ask you to sing. The matter was
talked about, and you were the first person that I thought of
to embellish my concert ; I myself would have agreed to
your singing an Aria by another master, but those who were
managing the concert for me were weak enough to decide
that the Aria must be my own composition ; but I have not
time to write a new one ; the one out of my opera, owing to its
situation, is not suitable for such a great hall as the Redoute.

So is it, my dear honoured M. M. had not the slightest
order, because I myself did not yet know what I should do
and what I could do, since I have to follow the opinion of
those who are managing my concert — if I had had a new Aria
at my disposal, I would have placed myself at your feet, so that
you might listen to my request — for the rest receive my best
thanks for your good-natured intentions towards me. It is to
be hoped my circumstances will soon improve (for you probably
know that I have lost almost everything), and then my first
business will be to write an opera for our unique Milder, and
I will put forth all my strength to show myself worthy of you.

With kind regards,
Your friend,

Beethoven.
(I enclose some tickets for
my concert which you will
probably not despise.)

[According to the original manuscript in the possession of C.
Meinert, Frankfort ; first printed in the Catalogue of the Beethoven-
haus, Bonn (1890). It is not quite clear whether Beethoven
really wrote something new or not for this concert. If it was
something new, the question is, what was it, and what has become
of it ? I have treated this matter at length in my monograph
concerning Anna Milder-Hauptmann in Die Musik (second
December No., 1901) ; and see specially 1902 (1st and 2nd January
Nos.). At the noteworthy concert of February 22 of this year was
brought forward as a great novelty, the Symphony in F (Op. 93),
and as a further novelty a " new Terzet for Soprano, tenor and
bass " (Tremate, empi, tremate), performed by Milder-Hauptmann,

310 BEETHOVENS LETTERS

Siboni and Weinmüller. Was this the " new " that Beethoven
had to write for Milder ? But the sketches for this Terzet already-
dated from the year 1801. Schindler merely says, " New Terzet
for soprano." What is a novelty at a concert ? A novelty is
always considered a work which is produced for the first time
before the public]

CCCLXXIII To the ARCHDUKE RUDOLPH

_r T TT , {February 1814]

Your Imperial Highness ! L

I hope to be forgiven for my absence. Your displeasure
would fall upon one who is innocent ; in a few days I shall
make up for lost time. They are going to give my opera
Fidelio again. This gives me much to do, and in spite of
my good looks I am not well. For my second concert matters
have been partly arranged, I have to write something new
for Milder. I hear meanwhile, and that is a consolation to
me, that your Imperial Highness is again better ; and I
hope soon, if I do not natter myself too much, to be able to
help in this matter. Meanwhile I have taken the liberty to
inform Lord Falstaff that he may soon be graciously per-
mitted to appear before your Imperial Highness.

Your Imperial Highness's faithful
and most obedient servant,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft dt,r Musikfreunde, Vienna ; first printed by Koechel.
" My lord Falstaff " was Beethoven's first violin : Ignaz Schup-
panzigh.]

CCCLXXIV To FRIEDRICH TREITSCHKE

„ _ . \February 1814]

Dear worthy Tr ! L a

I have not yet thought about your song ! but I will at

once see about it ; perhaps I shall pay a visit this afternoon

and give you my ideas on the subject.

Whether a rehearsal can be held on Monday I cannot say

positively, but probably it will take place a day later. You

have not the slightest conception of the work which such a

concert entails, only necessity forces me to give it, to undergo

all the trouble connected with it !

In haste,

Your friend,

Beethoven.

BEETHOVENS LETTERS 311

[According to Jahn's copy in his Beethoven Papers in the Royal
Library, Berlin ; first printed by Thayer (iii. 274). This small
letter also concerns the concert which took place on February 27
of this year. A lively correspondence ensued between the theatre
poet and regisseur Treitschke, for this was the man who revised
the libretto when it was seriously thought of reviving Fidelio.
Through the revision of the text by Treitschke, the composer, as he
himself expressed it, was induced to " restore the crumbling ruins
of an old castle." The work mentioned in this note may possibly
have been Treitschke's " Der Ruf vom Berge." This poem, how-
ever, was only composed by Beethoven later on.]

CCCLXXV To the Same

[February — March 1814]

Here dear, worthy T. is your song ! With great pleasure
have I read your improvements in the opera ; it determines
me all the more to restore the crumbling ruins of an old
castle.

Your friend,

Beethoven.
[According to Jahn's copy.]

CCCLXXVI To the Same

[March 1814]

You ! very worthy Tr. ! I thought of the date when
the song had already been written, even before I met you.
Yesterday's letter — which I mentioned, about which I first
wished to speak to you, you will receive to-day ; if it serves
your purpose it will heartily rejoice me. From Palfy I have
no news, but I should not change a jot from what I have
fixed regarding year and day.

Your friend,
Beethoven.

[According to Jahn's copy ; first printed by Thayer (iii. 275).
Beethoven must have put a wrong date on the manuscript of the
Germania composition which fully satisfied his aim ; the other
pieces in Treitschke's operetta Die Gute Nachricht, were by Hum-
mel, Mozart, Weigl, Gyrowetz and August Kanne. With Palfy,
the theatre director, who is often mentioned in these letters,
Beethoven was often at loggerheads.]

312

BEETHOVENS LETTERS

BEETHOVENS LETTERS 313

CCCLXXVII To FRIEDRICH TREITSCHKE

[Spring 1814]
My worthy Tr. —

According to advice I went to the Public Works office,
and the matter has already been settled on most advantageous
terms for me ; it is far better to have to deal with artists
than with so-called grand folks (small-minded) ! You will
receive your song at a moment's notice whenever you ask
for it — I hasten to thank you for what you have done for
my opera. If an opportunity occur, you might give Egmont
at the Wieden Theatre. The arrival of the Spaniards, which
is only indicated in the play, not made evident, at the opening
of that big barn, the Wieden Theatre, can be made useful,
also many other things as a spectacle for the public. The music,
too, would not be quite lost, for that purpose ; I would
indeed, if new stuff were required, write it.

Worthy friend ! Farewell ! To-day I spoke with the
principal bass singer of the Austrian Empire, full of enthu-
siasm for a new opera by Girowitz. I inwardly smiled at
the new artistic path which this work will open to us.

Yours ever,

Beethoven.

[According to Jahn's copy ; first published by Thayer (ii. 274).
The contempt of our composer for the new opera of Adalbert
Gyrowetz just now when he was occupied with the revision of his
one opera, was more than justified. A. Gyrowetz (1763-1850),
one of the most prolific German composers, wrote twenty-four
operas and operettas, but none of them survived him ; they are
all dead and buried.]

CCCLXXVIII To the Same

[Spring 1814]
Dear worthy Tr. —

The cursed concert — which I am compelled to give,
partly owing to my bad circumstances — has put me all
behindhand with regard to the opera. The Cantata which
I wished to give, robbed me of 5 or 6 days ; now, indeed, some-
thing must be done suddenly, and I would write something new
quicker, as I am accustomed to write, than now the new to
the old. Also in my instrumental music I always have the
whole in my mind ; here however that whole is to a certain

314 BEETHOVEN'S LETTERS

extent divided, and I have afresh to think myself into my
music ! To give the opera in 14 days is probably impossible,
but I think it could be managed in four weeks.

Meanwhile the first act will be finished in a few days,
but there is a great deal still to do to the second act ; also
a new Overture, which indeed is the easiest thing, as it will
be quite new. For my Akademie I have only sketched out
here and there, both in the first and second acts ; only a
few days ago I was able to set to work

The score of the Opera was the most frightful writing that
I have ever seen, I had to look at it note by note (it was
probably stolen).

In short ! I assure you dear Tr. — the opera is gaining
for me a martyr's crown. Had you not taken so much
trouble, and so improved everything, for which I am eternally
thankful to you, I could scarcely have forced myself to it !
You have thereby also saved something from a stranded
ship ! Meanwhile, if you think that the delay with the opera
will be too great for you, put it off to a later period. I am
now going away until all is ended, also quite changed by you,
and for the better ; and of this at every moment I become
more and more aware. Still it does not go as quickly as if I
were writing something new ; and in 14 days that is impos-
sible ! Act as you think best, but also quite as a friend of
mine ! there is no lack of zeal on my part.

Yours,

Beethoven.

[According to Jahn's copy ; first published by Thayer (iii. 281).
These sighs about Beethoven's martyrdom during the new Fidelio
show us in the clearest manner that a great part of the new arising
opera was due to the poet Treitschke. The latter was never tired
of encouraging the master to crown his work, for in May of this
year the revival of Fidelio was to take place. Treitschke also
wanted to know what use was to be made of his " Germania "
chorus. The following note refers to the matter.]

CCCLXXIX To the Same

[Spring 1814]

I beg you dear Tr — to send me the score of the song, so
that the interpolated note may be set out for all the instru-
ments. Besides I shall not be in the least offended if you want
to have it set to music by Gyrowitz or any one else — Wein-

BEETHOVENS LETTERS 315

müller for preference ; I have no claim in the matter ; yet
I will not allow any one — whoever he may be — to alter
my compositions.

With marked esteem,
Your most devoted,

Beethoven.

[According to Jahn ; in Thayer (iii. 276). The Cantata was the
song in Treitschke's poem " Germania " — see letter CCCLXXVIII.]

CCCLXXX To the Same

[Spring 1814]
Dear Treitschke !

Please have the soprano part copied in the tenor clef
(in the final chorus) for Ehlers — who plays the lover in your
operetta ; that's what I should like.

In haste,
Yours,

Beethoven.
P.S. [in Thayer]

If you wish to make use in your operetta of the Aria
(Kriegslied) for the allied armies (by Bernard) which I have
set to music, it is at your service ; as Weinmüller sings the
solos in Germania, so also would Ehlers.

[According to Jahn's copy ; in Thayer (iii. 275). The
Kriegslied, however, was not used ; Ehlers sang the lover in Die
Gute Nachricht. Beethoven certainly wrote a Kriegslied in
the year 1814, which appeared in a collection prepared by Reissig
in the year 1815. Professor Wilhelm Ehlers, born in 1774 at
Hanover, came already to Vienna on one of his numerous (guest)
tours, and remained there for some long time, so probably then
became on friendly terms with Beethoven. Further intimate
relationship between the two belongs to a later epoch. See the
editor's " Neue Beethovenbriefe," p. 195. The famous bass
singer, Weinmüller, whom Beethoven recognised as a composer of
value, was born in 1764 at Dillingen. His voice extended from
contra D to the first accented F. Weinmüller was equally good
as an opera, as he was an oratorio singer ; he died soon after
Beethoven at Döbling, near Vienna, 1828.]

316 BEETHOVENS LETTERS

CCCLXXXI To the Same

[Spring 1814]

Dear Tr. ! I am delighted at your satisfaction with the
chorus — I thought that you would have used all the pieces
to your advantage, and also to mine ; but if you do not want
this, I should like it to be sold solely for the benefit of the
poor. Your copyists came to me about it, also Wranitzky ;
I said that you, worthy Tr., were absolute master in the
matter, hence I am only waiting for your opinion.

Your copyist is — an ass ! but he has not the well-
known magnificent ass's skin * — hence my copyist has
undertaken the matter, and it will be nearly finished by
Tuesday, and my copyist will bring everything to the re-
hearsal. For the rest, the whole matter concerning the
opera is the most troublesome in the world, for I am dis-
satisfied with most things, and there is scarcely a number to
which I have not been compelled here and there to tack on
some satisfaction to my present dissatisfaction. There is a
very great difference between free reflection and giving one-
self up to one's inspiration.

Yours ever,
Beethoven.

[According to Jahn's copy. Beethoven's remark about the
revision of his Fidelio being " the most troublesome thing in the
world," is especially well known. This sentence was given by
Treitschke in his long, detailed, excellent account about the
whole matter in " Orpheus." His concluding words are as follows :
" According to his [Beethoven's] request I offered our work to
various theatres. Several accepted it, while others declined, as
they were already in possession of Paer's opera. Many pre-
ferred a cheaper plan, viz., to provide themselves with it by crafty
copyists, who, as was then the custom, stole both text and music.
Fidelio was translated into several languages and a lot of money
was won by it, but this brought to us little good and small thanks."]

CCCLXXXII To N. VON ZMESKALL

[Spring 1814]

Dear Z., I am not going to travel, at least I will not in
any way tie myself down — the matter must be carefully

* Thayer gives the delightful explanation : On ^March 10, HummePs Die
Eselhaut was performed at the Theater an der Wien.

BEETHOVENS LETTERS 317

thought over. Meanwhile the work has been forwarded to
the Prince Regent. // people want ?ne they can have me, and
then I am free to say yes or no. Freedom ! ! ! What more
can one want ? ? ?

I should very much like to speak with you as to how I
am to arrange about my rooms.

[According to Thayer (iii. 278), who, with regard to the new
rooms of the composer, remarks : " This new dwelling-place for
which Beethoven was now leaving the Pasqualati house, lay on
the first floor of the Bartenstein house, likewise on the Mölker-
bastei (No. 94). He therefore was close to his friends, Princess
Christian Lichnowsky and Countess Erdödy. Prince Lichnowsky,
Beethoven's great patron, died on April 15 of this year. We
read about a journey of Beethoven's. It appears that now for
the first time he had planned a journey to England, a project
of which we shall often hear, but of which nothing ever came. The
work for the Prince Regent shows us clearly that it concerned
the Battle Symphony which was to be forwarded to the Prince
Regent of England. In a letter to Ferdinand Ries on November
22, 1815, Beethoven writes : " Wellington's Victory at the Battle of
Vittoria must have been at Th. Coutts and Co. already for some time."
The master frequently complained, and laughed in derision about
his never having received any recognition from the Regent for
what he sent, or for the dedication. In a letter to Ries of March
8, 1816, we read : " so also with the Prince Regent (who was after-
wards King George IV.) from whom I have not even received the
copying costs of my Battle which I sent, no not even thanks either
by writing or by word of mouth." Still, after a number of years,
namely, in December 1822, Beethoven speaks sarcastically about
King George IV. of England to Ries thus : " Our amiable friend
Potter ought to see whether he cannot at least obtain a butcher's
knife * or a tortoise ; of course, the printed copy of the Battle was
likewise given to the King."]

CCCLXXXIII To ARCHDUKE RUDOLPH

[April 1814]
Your Imperial Highness !

As I have only just received the score of the concluding
chorus, I apologise for your receiving it so late. Your
Imperial Highness will do best to have it copied, as the score
on account of its shape is not serviceable. I wanted myself
to bring it to you, but since Sunday I have again been

* The work was entitled "Schlacht Symphonie," &c, and butcher's knife in
German is Schlachtmesser, one of Beethoven's many plays upon words. — Tb.

318 BEETHOVENS LETTERS

suffering from a severe cold, and I must be very patient.
There is no greater pleasure for me than when Your
Imperial Highness takes delight in anything of mine. I
hope shortly to be able to appear before you, and until then
I beg you to keep me in your worthy remembrance.
Your Imperial Highness's most faithful
and obedient,
Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von
Koechel. This, and several notes which follow, relate to the chorus
" Germania " in Treitschke's operetta Die gute Nachricht.]

CCCLXXXIV To the Same

[April 1814]
Your Imperial Highness !

The song Germania belongs to the whole world which
takes interest in it — and to you — above all others, also to
myself. Pleasant journey to Palermo.

Your Imperial Highness's faithful
and most obedient,

Beethoven.
To His Imperial
Highness, the
Archduke Rudolph.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first published by von
Koechel.]

CCCLXXXV To the Same

[Spring 1814]

Your Imperial Highness !

I beg you to let the bearer of this have the score of the
concluding chorus ; I only want it for half a day — the
theatre score is so badly written.

Your Imperial Highness's most

faithful and obedient,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde ; first printed by von Koechel.]

BEETHOVENS LETTERS 319

CCCLXXXVI To N. VON ZMESKALL

[Spring 1814]

P. said yesterday that he was sending them to you —
so nothing — you will do best to send in my name for the 14
tickets for Z.

In haste,

Your B.

[According to the original manuscript of the Vienna Court
Library ; printed in my " Neue Beethovenbriefe." This note
relates either — and this appears the most likely — to the revival of
Fidelio, which took place in this year, and then P. stands for
Palfy, who was one of the directors of the Imperial Theatre ; or
the note concerns the concerts for instrumental music which the
wealthy art lover, Pettenkofer arranged during the musical season
of 1813 to 1814, and then the letter stands for him. Even this
latter interpretation is not at once to be rejected ; for in this
spring (April 11, 1814) at the instrumental concert, in which
Beethoven for the last time appeared as a pianist and played his
great B flat Trio, also the great F minor Quartet, dedicated to
his friend Zmeskall, was produced for the first time.]

CCCLXXXVII To the Same

[Spring 1814]

Dear Z. I will ask P. for the fourteen tickets and send
them to you.

[According to the original in the Vienna Court Library. This
note is in pencil ; it was written to Zmeskall before the previous
note ; both are correct.]

CCCLXXXVIII To FR. TREITSCHKE

[June 1814]

Dear worthy Tr. — ! Your estimate of the 4th part of
the receipts in the matter of the opera is of course under-
stood ! And only for this moment, indeed, must I remain
your debtor, yet I will never forget that. With regard to a
benefit performance for myself, I should like yesterday week,
i.e., next Thursday.

I called on Herr Palfy to-day, but he was out. For the
rest, keep the matter going, otherwise it will do harm. I

320 BEETHOVENS LETTERS

will shortly come and see you, as I have still much to talk
over with you. Short of paper, I must stop.

Yours ever,

Beethoven.
[According to Jahn ; first published by Thayer.']

CCCLXXXIX MUSICAL NOTICE

[Vienna, the 28th June, 1814]

The undersigned, at the request of Herren Artaria and Co.
herewith declares that he has handed over to the said art
firm the score of his opera Fidelio, for the purpose of pub-
lishing the same under his direction in a complete pianoforte
edition, as quartets, or arranged for wind band. The present
musical version is thoroughly different from the former one,
as nearly every number has been changed, and more than
the half of the opera newly composed. Unauthorised copies
of the score, together with the book in MS., can be obtained
from me or from the librettist, Herr F. Treitschke, theatre
poet. Other illegal copies will be dealt with by law.

Ludwig van Beethoven.
Vienna, the 28th June, 1814.

[This notice is given the Wiener Zeitung of July 1, 1814. See
Thayer (iii. 287).]

CCCXC To The ARCHDUKE RUDOLPH

[14 July, 1814]
Your Imperial Highness !

So often as I make inquiry about your health, I hear
nothing but good news. So far as my small person is con-
cerned, I regret up to now having been prevented leaving
Vienna to be near your Imperial Highness, also from enjoying
beautiful Nature, to me so essential. The theatre manage-
ment is so honourable, that they have already once again,
contrary to all promises, given my opera Fidelio without
thinking of my benefit ; and this charitable proceeding
would have again taken place for the second time, had I
not, like a French custom-house officer of former days, been
on the watch. Finally, after many troublesome appeals, it was
arranged that I should have my benefit on the 18th July.

BEETHOVENS LETTERS 321

This benefit [Einnahme] is more in the shape of an [A usnahme]
at this time of year, but a benefit for an author can often, if
the work is to a certain degree worthy, prove a small festival.
To this feast the master, with all due respect, invites his noble
pupil, and hopes — yes, I hope, that your Imperial Highness
will graciously accept and by your presence glorify every-
thing. It would be very nice if your Imperial Highness
would persuade the other Imperial Highnesses to attend this
performance of my opera. I will myself observe all due
ceremony in this matter. Through the illness of Vogel
I have been able to obtain my wish to give the role of Pizarro
to Forti, as his voice is better suited to it — but there are
now daily rehearsals which certainly are very profitable for
the production, yet put out of the question the possibility
of waiting on your Imperial Highness at Baden until my
benefit is over. Graciously accept my note and most graciously
remember me.

Your Imperial Highness's faithful and
most obedient servant,

Ludwig van Beethoven.
Vienna the 14 July, 1814.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna; first printed by von
Koechel. The benefit performance for Beethoven took place in
the most brilliant manner on July 18, 1814.]

CCCXCI To the Singer FORTI-PIZARRO

[July 1814]
Dear Pizarro !

When you and your dear wife are going through the
pianoforte edition, think sometimes of your honest friend

Beethoven.
[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; unprinted.]

CCCXCII To HERR VON HUBER

[Summer 1814]

Here, my dear Huber, you receive my promised engraved
portrait ; as you yourself thought it worth while to ask me
for it, there is no fear of my being accused of vanity.

Farewell, and think sometimes of your sincere friend,

Ludwig van Beethoven.

322 BEETHOVENS LETTERS

[This note is given by Thayer (iii. 296), without the source being
indicated, Who this Huber was — certainly not the poet of the
" Mount of Olives " text, who already died in 1809 — cannot be
determined. The here-mentioned engraving was one of the best
which we possess of Beethoven, that of Blasius Höfel, after the
drawing of Letronne.]

CCCXCIII To The ARC DUKE RUDOLPH

[July 1814]
Your Imperial Highness !

For to-day it is not possible for me, as I wish, to wait upon
you. I am attending to the work, Wellington's Victory, for
London ; such things have to be done within a fixed period,
so that they cannot be put off without everything being
put off. I hope to-morrow to be able to wait on your
Imperial Highness.

Your Imperial Highness's

most true and obedient,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first published by v.
Koechel. Mention has recently been made of the Battle Sym-
phony in connection with the Prince Regent of England.]

CCCXCIV To HERR V. ADLERSBURG

[July 1814]

Of my own accord I wrote, and gratis, a S.S. [Schlacht-
Symphonie] for M.'s Panharmonica. After having it for a
time, he brought me the score, from which he had begun
to print, and wished it to be arranged for full orchestra.
Already before that, I had the idea in my mind of a Battle,
which, however, could not be applied to his P. We came
to an agreement to give this work and also other compositions
of mine for the benefit of the wounded. In the meantime
I found myself in the most terrible money perplexity. Aban-
doned here in Vienna by the whole world, in expectation of
a draft, &c, M. offered me 50 ducats. I accepted them
and told him that I would either return them to him
here, or, if I did not travel myself with him, would give
him the work to take to London, where I would refer him
to an English publisher who would pay him this. The

BEETHOVENS LETTERS 323

score, as arranged for his P., I received back from him.
Now while preparations were being made for the concerts,
Herr M.'s scheme and character began to reveal themselves.
Without my consent, he put on the bill that the work was
his own property ; thereupon in a rage I compelled him to
take it down. Then he added, that out of friendship I had
allowed him this for his journey to London, while I thought
I was still free to name the conditions under which I would
let him have the work.* I was still writing the work,
and, wholly absorbed in the heat of inspiration, scarcely
thought of the matter. Meanwhile, immediately after the
first University concert, I was told from many quarters, and
by trustworthy men, that M. had everywhere announced
that he had paid me 400 ducats in gold. Thereupon I sent
the following to the newspaper, but it was not inserted — as M.
is on good terms with every one. Immediately after the first
concert I returned M. his 50 ducats, and declared to him that
as I had here learnt to know his character, I would never
dream of travelling with him ; that I was justly incensed
at his having drawn up the bill without consulting me ; that
all the arrangements for the concerts were bad ; that by
the following expressions he was himself showing his un-
patriotic character: (I spit at V., only think what London
will say at 10 florins being charged, why, that I did this not for

the wounded, but for ) ; and that I had given him the

work to take to London, only under certain conditions which I
was to make to him. Now he asserts that it was a friendly
gift, had this put into the newspaper after the second concert,
without making the least inquiry of me. As M. is a coarse
fellow, without education, without culture, it can easily be
understood how he behaved towards me at that time, and
therefore roused my anger more and more. And who would
think, under compulsion, of making a friendly present to
such a man ? Then an opportunity occurred to send the
work to the Prince Regent. It was therefore now quite
impossible to give him this work without conditions. He now
came to you and made propositions. He was told on what
day to appear so as to receive the answer — but he never turned
up, left Vienna, gave the work in Munich. How did he get
hold of it ? It was impossible for him to steal it — Herr
Maelzel had some parts for a few days at home — and from

* "I remember during the printing of the bill to have had a hot dispute, but
the time was too short." [This unfinished sentence was written as an afterthought
by Beethoven. — Tr.]

324 BEETHOVENS LETTERS

these he got some low fellow to bodge it up, and now he
goes hawking through the world with it. Herr Maelzel
promised me some ear-trumpets. In order to encourage
him, I arranged the Victory Symphony for his Panharmonica.
Finally he completed his instruments, but they were of no
practical use to me. For this small trouble Herr M. pre-
tended that I ought, after I had arranged the Victory Sym-
phony for grand orchestra, also to compose the Battle, and
make him sole proprietor of the work. Now even supposing
that with regard to the ear-trumpets I ought to have felt
to a certain extent under obligation to him, this was dis-
charged, in that by the Battle which he had stolen from me,
or put together in mutilated form, he made at least 500 florins,
convention coin — and thus he paid himself. He had even
the audacity to say here that he possessed the Battle ; and
even showed it in manuscript to several persons ; I however
did not believe it, and was so far right, as the whole was
not mine, but put together by some other hand. Also the
honour which he attributes to himself alone ought indeed to
be a sufficient reward. The military council made no mention
•whatever of me, and yet everything in the two concerts was
mine. If Herr M., as he hinted, delayed his journey to
London on account of this Battle, this was merely a hoax.
Herr M. remained until he had completed his patch-work,
the first attempts not having succeeded.

Beethoven.

[According to the original manuscript among Schindler's papers
in the Berlin Library].

CCCXCV Explanation and Appeal to the Artists

in London

[Vienna, July 25, 1814]

Herr Maelzel, who is at present in London, on his way
thither performed my Siegessinfonie und Wellingtons Schlacht
bei Vittoria in Munich, and, according to report, will also
give it at concerts in London, just as he had intended doing
in Frankfort. This induces me openly to declare : That
I did not ever in any way give or surrender the named works
to Herr Maelzel ; that nobody possesses copies of them,
and that the only one given away by me, I sent to his Royal
Highness, Prince Regent of England.

The performance of these works by Herr Maelzel is

BEETHOVENS LETTERS 325

therefore an imposition on the public, since he, according
to the explanation here given, does not possess them, or if
he does, has injured me, seeing that he has got possession
of them illegally.

But even in the latter case, the public will be deceived, for
what Herr Maelzel offers to it under the title : Wellingtons
Schlacht bei Vittoria und Siegessinfonie, must evidently be a
spurious or a mutilated work, for of these works, with ex-
ception of a single part for a few days, he has never received
anything from me.

This suspicion becomes a certainty if I add the assur-
ance of composers here, whose names, in case of necessity,
I am empowered to publickly mention, that Herr Maelzel on
his departure from Vienna told them that he had these works
in his possession ; also that he showed them some parts, which,
as I have already shown, can only be mutilated or spurious.
Whether Herr Maelzel is capable of doing me such an injury ?
— is answered by the fact that he announced in the public
papers, without any mention of my name, that he alone
undertook the concerts which I gave in Vienna for the
benefit of those who were wounded in the war, at which only
my works were performed.

I therefore call upon artists in London, as their art col-
league, not to suffer such injury to be done to me, by the in-
tended performance of the Schlacht bei Vittoria und Sieges-
sinfonie arranged by Herr M., and to prevent the London
public being deceived by him in the aforementioned way.

Vienna, July 25, 1814.

[The original of this explanation is not in Beethoven's hand-
writing ; it was first printed by Nohl. But among the Beethoven
papers bequeathed by Schindler to the Berlin Library, there is a
special vindication of Beethoven, which indeed Thayer printed,
but which he did not use to proper account. The following is an
exact copy :]

We the undersigned testify for the sake of truth, and are
ready if necessary to swear, that several meetings took place
here at the house of Dr. Adlersburg between Herr Louis
van Beethoven and the court mechanician Herr Maelzel,
concerning the Battle of Vittoria, and the journey to England.
Several propositions were made by Herr Maelzel to Herr van
Beethoven in reference to the above-named work, or at least
the acquiring the right of first performance. As however
Herr Maelzel did not appear at the last appointed meeting,

326 BEETHOVENS LETTERS

nothing was settled about the matter, as he had not accepted
the first proposals made to him.
In proof of which

my own hand

Vienna, October 20, 1814

Joh. Freih. v. Pasqualati,

privileged wholesale merchant,

Carl Edler von Adlersburg,

Court barrister and notary.

[And thus, although v. Pasqualati and Dr. Adlersburg declare
that Maelzel could claim no rights of ownership in the Battle
Symphony, Thayer, the otherwise worthy Beethoven biographer,
undertook to present the matter unfavourably for Beethoven,
for which he was strongly taken to task by his great admirer,
Dr. Behncke, who edited the 5th edition of Marx's "Beethoven."]

CCCXCVI To the ARCHDUKE RUDOLPH

[Summer 1814]
Your Imperial Highness !

I wished to hand you this letter myself, but I should
probably be troubling you now by appearing personally,
and I take the liberty once again to beg Y.I.H. to grant
the request therein contained. It would also be very kind
if your Imperial Highness would send me back the last
Sonata in manuscript, as I must publish it ; there would be
no necessity for you to have it copied, as in a short time I
shall have the pleasure of presenting you with a printed copy.
In a few days I will wait on you. All good wishes for your
health in these joyful times.

Your Imperial Highness's most obedient
and faithful,
Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von
Koechel. This letter probably concerns the pianoforte Sonata
in E minor (Op. 90), which was composed in the summer of 1814,
and appeared in the following year.]

BEETHOVEN S LETTERS 327

CCCXCVII To The ARCHDUKE RUDOLPH

[Summer 1814]
Your Imperial Highness !

As you were kind enough to say to me through Count
Troyer that you would add a few lines about my affairs in
Prague to the Chief Burgrave Kollowrath, I take the liberty
of enclosing my letter to Count K. I do not think that
there will be anything likely to give offence to Your Imperial
Highness ; besides the matter will not end with the bonds,
to which, in spite of all evidence, the guardians would not
condescend. Meanwhile it is to be hoped that through the
steps which have been taken in a friendly, not legal way, a
more favourable result will, at least, be brought about, for
example, payment on a higher scale — but if your Imperial
Highness will only write a few words yourself, or have them
written in your name, the matter will certainly be hastened ;
and that is the reason why I have begged and again earnestly
beg your Imperial Highness to carry out your gracious
promise to me.

This affair has now been pending for three years.
Your Imperial Highness's most obedient
and faithful servant,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von
Koechel. Beethoven's note is specially concerned with the long
dragging affair with the heirs of von Kinsky. A Count Troyer,
a friend of the Archduke's, has already been mentioned (Letter
CCCLXIII).]

CCCXCVIII To DR. JOHANN KANKA, Lawyer,

Prague

[Midsummer 1814]

A THOUSAND THANKS, MY HONOURED K.,

I once again meet with a lawyer and a man who can
write and think without making use of empty formulae.
You can scarcely imagine how I sigh for an end to this
business, as in everything which concerns my household
economy I am unsettled — not to speak of other damage.
You yourself know that the creative spirit ought not to
be fettered by wretched wants, and through them I am

328 BEETHOVENS LETTERS

deprived of many things calculated to brighten my life. Even
to my longing, and to the duty which I have undertaken,
viz., to work by means of my art for needy humanity, I have
been compelled and am still compelled to set limits. Of
our monarchs, &c, monarchies, &c, I write nothing to you,
the papers will tell you everything — for me the spiritual
kingdom is dearest, it is above all intellectual and
worldly monarchies — only do write what you really want
for yourself from me, from my weak musical powers, so
that I may be able, so far as is possible, to write some-
thing for your own musical intelligence or feeling. Do you
not want all the papers which refer to the Kinsky matter ?
In this case I would send them to you, as amongst them is
important testimony which I think you read over at my
house — think of me, and consider that you are representing
an unselfish artist against a haggling family. How readily
men take away from a poor artist what in another way they
bestow on him — and Jupiter no longer exists, so that one
could invite oneself to a feast of ambrosia — give wings, dear
friend, to the slow steps of justice. When I find myself in
high spirits, when I have happy moments in my art sphere, then
earthly spirits drag me down again, and to these also belong
the 2 law-suits. You, too, have unpleasantnesses, although I
should not have thought it considering your usual intelligence
and capabilities, specially in your profession, so I must refer
you to myself. I have emptied the cup of bitter sorrow,
and through my dear art disciples and art companions I
have won martyrdom in art — I beg you to think every day of
me as if I were a whole world ; otherwise it would be expecting
too much of you to think of such a small individual as myself.
With the most sincere respect and friendship

Yours truly,
Ludwig van Beethoven.

[According to the original manuscript in the possession of Carl
Meinert, Frankfort, first published by Nohl. The letter to the
Prague lawyer, Dr. Johann Kanka, gives a striking picture of the
bitter sorrows which were the lot of the composer during his law
suit with the Kinsky heirs. Also from this letter we see that the
great lawyer had already discussed the whole matter with the
composer during this year, and had seen all the necessary papers.
Beethoven, amidst these worries, quotes his Schiller. That he
cannot invite himself to an ambrosial feast with Father Jupiter
is a reminiscence from Schiller's " Teilung der Erde," where Zeus
consoles all disinherited poets thus :

BEETHOVEN S LETTERS 321)

" Willst du in meinem Himmel mit mir leben,
So oft du kommst, er soll dir offen sein."

(If thou wilt live with me in my heaven,

Whenever thou comest, it shall be open to thee. — Tr.)

CCCXCIX To the Same

Vienna, 22nd August, 1814.

You have shown me that you possess feeling for harmony
— and you will probably be able to resolve a great discord,
which is causing me much unpleasantness, into more bright-
ness in my life. I am expecting soon to know what you have
heard, and about what will happen, as I am most anxious
about this dishonourable matter with the Kinsky family —
the Princess appeared to me here to be favourable — but I
do not know what will come of it — meanwhile I am fettered
in everything, for with perfect right I expect that which is
due to me by right and according to contract ; however,
events have brought about changes in this matter which no
man could have seen beforehand. But recently through the
promise of the late Prince proved by two certificates,
through the fixed income promised to me in redemption
bonds, and through the Prince himself who gave me 60
ducats in gold on account, my claim is established.

If the matter turn out badly through the action of the
Kinsky family, I will make the story known in all newspapers
just as it is — to the disgrace of the family. Had there been
an heir, and had I told him the story truthfully just as it is,
and how I have been treated, I am persuaded that he would
have followed the words and deeds of his ancestors — Has Dr.
Wolf given you information about the documents, shall I tell
you about them ? As I did not know for certain whether
you will get this letter, I have waited before sending you the
pianoforte score of my opera Fidelio which is ready. I hope
according to your friendly behaviour towards me to hear
soon from you. I am also writing to Dr. Wolf, who certainly
does not treat any one in wolf-like fashion, not to make
him angry, and so that he may not kill or rob me.
With respect,

Your admirer and friend,

Ludwig van Beethoven.

330 BEETHOVENS LETTERS

[According to the original manuscript in the possession of C
Meinert, Frankfort. Beethoven's lawyer, Dr. Wolf, is the same
of whom mention was made in the letter to Dr. Beyer of Prague,
already given (Letter No. CCCLIX, of December 1813). Beethoven's
present lawyer, with his feeling for harmony also receives the
pianoforte score of the revived opera Fidelio.]

CCCC To DR. VON ADLERSBURG

[Summer 1814 ?]

Honoured friend — I remind you that Wolf has also en-
closed the supplementary evidence for the Chief Burgrave.
What is to be done ? To-morrow I will pay you an
early visit. I think one should reflect well as to wrhether
the matter can be done so. The Archduke thinks that the
document, with the exception of " too much is expected of
magnanimity " is all right. I heartily embrace you. Do
not be unkind about my worries. There will soon be an end
to them.

Yours,

Beethoven.

[According to Thayer (iii. 478). From the original which, in
1878, was in the possession of Anton Widler in Vienna. Dr. von
Adlersburg, court barrister in Vienna, at this period acted for
Beethoven ; it will not be forgotten that in the dispute with
Maelzel, von Adlersburg and Baron Pasqualati were the two wit-
nesses who signed in Beethoven's favour.]

CCCCI To BARON VON PASQUALATI

[Summer 1814 ?]

Dear worthy friend ! To-morrow at latest I will be
with you by half-past eight ! do not chuck me out ! If you
only send your letter to Adlersburg it will be all right. The
Archduke is not satisfied with the document because too
much is left to magnanimity.

Yours in haste,

Beethoven.

[According to Dr. Jahn's copy, printed by Thayer (iii. 424) .
This note is connected with the former one to Dr. Adlersburg.]

BEETHOVEN S LETTERS 331

CCCCII To N. VON ZMESKALL

[Summer 1814 ?]

The lawyer was not at home — hence, my good fellow, I
beg you to come to me about 8 o'clock to-morrow. I still
owe you something over 3 gulden, how much over I do not
know.

[According to Dr. Jahn's copy. Even this lawyer story is
probably connected with the Kinsky affair ; the lawyer being
probably Dr. von Adlersburg.]

CCCCIII To the ROYAL NATIONAL THEATRE

in Berlin

Vienna, June 23, 1814.

The undersigned have the honour of offering herewith
to the Royal National Theatre the text and score of their
opera Fidelio in the exact and only legal copy, for a fee of
20 ducats in gold to be used for this stage, without however
authority to make it known elsewhere either as a whole, or
any parts of it.

The said opera appeared a few weeks back at the Court
Opera here, and had the good fortune to be unusually success-
ful, and it always drew full houses. The text and music are
not to be mistaken for the opera of the same name which several
years ago was performed at the Theater an der Wien, some
copies of the score of which were stolen. The whole has
been thoroughly revised and in its changed form is much
more effective on the stage, and more than half written
afresh.

All means have been taken to safeguard this properly ;
in any case the National Theatre is requested not to place
confidence in any other offers, but kindly to inform the
undersigned.

A reply concerning to the National Theatre is to be
addressed to the co-signatory, F. Treitschke.

Ludwig van Beethoven.
Fr. Treitschke

Court Theatre Poet.

[According to the 3rd Beethoven Heft in Die Musik (March 1904)
in Dr. W. Altmann's article " Zu Beethoven's Fidelio und Melusine. "]

332 BEETHOVENS LETTERS

CCCCIV To the ARCHDUKE RUDOLPH

[Summer 1814 ?]
Your Imperial Highness !

I have been the whole time ill, and suffering especially
from my head, and I am still so. I however thought every
day that I should be able to wait on your Imperial Highness,
and so I told your Imperial Highness nothing about it.
Since yesterdajr evening I have had to put on some blistering
plasters, by means of which the physician hopes in a few days
not only to cure me for a certain time, but for always. About
Wednesday or Thursday I shall probably have the pleasure
again to present myself before your Imperial Highness
Your most obedient,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by La Mara.
This is one of the numerous apologies which Beethoven was forced
to write to his distinguished pupil.]

CCCCV To FRIEDRICH TREITSCHKE

[Summer 1814]

Dear Treitschke, please excuse me if I do not come to
you, I am not well and must not venture out — but with
regard to rooms, if you are kind enough, you can talk over
everything with my servant and the housekeeper.

[According to the original manuscript of the Royal Library,
Berlin. From this letter we see that Beethoven and his Fidelio
revising poet were on friendly terms with each other.]

CCCCVI To S. A. STEINER & CO.

[Summer 1814]

Worthy friend ! At last my wish" is granted, and I go
the day after to-morrow for an excursion of a few days.
I therefore beg you to say to Herr Mathias A., that I will
certainly not force him to take my pianoforte score. I
therefore send you the one by Halm, so that as soon as you have
received back my pianoforte score you can hand the Halm
to M. A. — but if Herr A. will keep my pianoforte score for

BEETHOVENS LETTERS 333

the fixed sum of;12 ducats in gold, I only ask that this should
be stated by himself in writing, or that he hand over to
you the fee — and for this purpose I enclose the receipt — I
cannot in any way be burdened with the pianoforte score
as a debt. You know my situation !

Yours as ever,

Beethoven.
P.S. — So I find it for the best not to trust a man who has
already broken his word with me — that is the ultimatum,
no modifications, either the one thing or the other. I beg
you to come to me at 12 o'clock, for the rest no delay in this
matter excepting as regards the money ; he can pay the fee
in 6 weeks' time or still later.

[According to the original manuscript in the Royal Library,
Berlin ; first printed by La Mara.]

[The whole P.S. stands on another sheet which seems to belong
to a later period, and to be addressed to another person. The style
of invitation at 12 o'clock would point to Schindler, if one did not
know that in this year he had not the honour of being a table
guest at the composer's house. The most important fact in this
letter is that Anton Halm arranged a pianoforte score of Fidelio. But
it is not the same one as that which Artaria brought out in 1814,
for we know positively that this was the pianoforte score which
Moscheles arranged, and to Beethoven's full satisfaction. Anton
Halm, born 1789, at Altenmarkt in Styria, from an officer
became a musician. He was on a very friendly footing with Beet-
hoven. According to Schindler (Biography ii. 118) it was generally
considered that the arrangement as a pianoforte duet of the great
Quartet Fugue in B flat (Op. 139) was the work of Halm. Ac-
cording to Nottebohm, Halm arranged it about 1826 ; his work
though also known to Beethoven, was never printed. Information
is still wanting about the fate of this Halm manuscript. Schindler
on the other hand, states that the arrangement of the Fugue bore a
special Opus number. He also states that " Beethoven trusted
him (H.) with one of the most difficult arrangements, namely, of
the Fugue from the great Quartet in B flat for pianoforte, and was
perfectly satisfied with the way in which he accomplished it."
Halm died at an advanced age in the year 1872 at Vienna.]

CCCCVII To the Same

[Summer 1814]

My dear Steiner, as soon as you send me the opera which
I want for reasons I have told you, you can have the parts

334 BEETHOVENS LETTERS

of the Symphony at once — this is not done according to
contract but out of kindness. I never answer insults.

All else, how or why I have done it,
I am ready to explain at
any moment.

Your most devoted,

Ludwig van Beethoven.

[According to the original manuscript in the Royal Library at
Berlin ; first printed by La Mara. At this period begins constant
intercourse with the music firm of S. A. Steiner and Co., and this
gave Beethoven opportunity to show in a variety of ways the
humorous side of his genius. The connection of Beethoven with
this firm in the Paternostergässchen, which has become celebrated,
may have been the cause of the connection with B. and H. finally
coming to an end in the year 1815. In order to understand the
many humorous letters which follow addressed to the gentlemen
in the Paternostergasse it may be mentioned that the firm itself,
the directorship, is abbreviated into G — lat, G — 11 — t, meaning
the head of the firm, Herr S. A. Steiner, the general lieutenant ;
G. or G — s, the composer himself as Generalissimus. The assistant
in the firm, Herr Tobias Haslinger, who later on became the chief of
the whole business, is named Adjutant, abbreviated into Ad — rl
( = Adjutanterl) the suffix " erl " giving the meaning " little adjutant,"
as a term of endearment. — Tr.]

CCCCVIII To S. A. STEINER & CO.

[Midsummer 1814]

Here my dear Steiner, I send you the parts of the Sym-
phony in A. I was the first who offered it to Diabelli, that
they should print the Symphony from them, consequently
there is no ground for the manner in which you have spoken
against me about it — I beg you once again for the opera, so that
I may correct the Artaria quartet score from it ; you
surely will not show jealousy in this matter, and for that
reason keep it back ; this would not be at all honourable
of you. I have always been ready to oblige you, but mis-
trust i> not in keeping with my character. Our contract
stipulates that I can give to England all the works which
you possess, and I can prove to you that in this matter
I have made but little use of my advantage ; also that if I
had remained master over my works, the English would have
paid me much more than you have done ; nevertheless I
have remained faithful to what was stated in the contract.

BEETHOVENS LETTERS 335

And now I announce to you that in a few days a severe
court-martial will be held, according to which the whole
regiment of G. 1. will be entirely disbanded, and likewise
condemned to lose all its future honours, advantages, &c.

For the last time the g — s.

[According to the original manuscript in the Royal Library,
Berlin ; first printed by La Mara.]

CCCCIX To COUNT MORITZ VON LICHNOWSKY

Baden, 21st September, 1841 (?)

Worthy honoured Count and Friend,

I unfortunately only received your letter yesterday.
Hearty thanks for thinking about me, likewise kind messages
to the Princess Christiane worthy of all respect. I took a
beautiful walk yesterday with a friend in the Brühl, and amid
friendly talk we specially mentioned you, and see, yesterday
evening on my arrival I find your kind letter. I see that
you always load me with kindnesses ; and as I should not like
you to think that the step which I have taken was prompted
through a new interest or, indeed, anything of that kind, I
tell you that soon a Sonata of mine will be published, which
I have dedicated to you. I wished to surprise you, for the
dedication to you had long been intended, but your letter of
yesterday forces me to disclose it to you. No other induce-
ment was needed in order to publicly show you my feelings
with regard to your friendship and welfare ; but if you were
to give me anything in the shape of a present it would pain
me, for then you would entirely misconstrue my intention ;
all things of that sort I could only refuse.

I kiss the hands of the Princess for her thought and good
wishes for me ; I have never forgotten how much I am
indebted to all of you, although] an unfortunate event brought
about conditions which prevented me showing it as I
wished.

As to what you say to me with regard to Lord Castlereagh,
I find that the matter has begun in the best manner. If I
may have an opinion of my own, I believe it best for Lord
Castlereagh not to write about the Wellington work until
the Lord has heard it here. I shall soon come into the
town when we can discuss all matters with regard to a great

336 BEETHOVENS LETTERS

concert. Nothing can be done with the Court, ^ have offered
myself, but

Adagio.

äisiiiii

V
al - lein al-lein al - lein

but silence ! ! !

A thousand hand-kisses to the honoured Princess C.
Farewell my honoured friend, and consider me ever worthy
of your good-will

Yours,

Beethoven.

[According to Marx (Beethoven's Life : 2nd edition, i. 120/).
It is unfortunate that he does not name the possessor of the original.
Such a fine letter ought to be facsimiled.* The dedication concerns
the pianoforte Sonata in E minor (Op. 90) which was composed
in the summer of 1819; it appeared with this dedication at Steiner's
in June 1815. Schindler has given an interesting clue to the
contents of this Sonata. The composer is said to have told the
Count that he wished to set to music the love-story with his wife
(formerly a dancer). As superscriptions the Count was to put
" First movement : struggle between heart and head," and over
the second movement : " Intercourse with the beloved." The
Lord Castlereagh referred to was the statesman, George Robert
Stewart, Castlereagh, Marquis of Londonderry, who lived from
1769-1822. He was very active during the fall of Napoleon and
the following hundred days, also during the Congress. With the
help of Count Lichnowsky, Beethoven tried to induce him to see
the Prince Regent of England respecting the Battle Symphony. 1

CCCCX To the ARCHDUKE RUDOLPH

[November 1814]
I notice that your Imperial Highness wishes to make an
experiment on horses by means of my music. It is to see,
so I perceive, whether the riders thereby can make some
clever somersaults. Ha ha, I must really laugh at your
Imperial Highness thinking of me in this matter ; for that I
shall be to the end of my life

Your most willing servant,

Ludwig van Beethoven.
N.B. — The desired horse-music will reach your Imperial
Highness at full gallop.

* The autograph belongs to Sir George Donaldson, who kindly allowed me to
see it. The date is clearly 1814, not as Marx prints it 1841. — Ed.

BEETHOVENS LETTERS 337

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von
Koechel. This editor gives the following plausible note : " On the
23rd November, 1819, there was a kind of tournament in the Imperial
Riding School." It is possible that Beethoven was asked by the
Archduke to compose something for it, but no such music is known.]

CCCCXI To the Same

[End of November, 1814]
Your Imperial Highness !

My best thanks for your present — I am only sorry that
you could not be present at the music. I have the honour
herewith to send you the score of the Cantata. Your Im-
perial Highness can keep it for several days, after that, I
will see that it is copied for you as quickly as possible. Still
exhausted by fatigues, worries, pleasures and joys all mixed
together, I shall have the honour of waiting upon your Imperial
Highness shortly — I hope to hear favourable news concerning
the health of your Imperial Highness. How willingly would
I sacrifice whole nights if it would enable me to restore you to
perfect health.

Your Imperial Highness's most obedient
and faithful servant,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by Koechel.]

CCCCXII To the BARONESS VON POSER

[Time of the Congress, 1814 ?]

Honoured Baroness, I answer your note in German, as
I can best express myself in my mother tongue. I do not
deserve the great praise which you bestow on me — although
when I appear in person, I shall lose much of your
otherwise exaggerated, and too high opinion of myself ; yet
it will be at any time agreeable to me to come to you, or,
if you wish, to see you at my house — With greatest
pleasure I am,

Your devoted servant,

Ludwig van Beethoven.

i Y

338 BEETHOVENS LETTERS

[According to the original belonging to Carl Meinert; first
printed by Nohl. This is the first and only time in Beethoven's
history that the Countess, nee Baroness Gravert, is mentioned.]

CCCCXIII To the ARCHDUKE RUDOLPH

{December 1814]
Your Imperial Highness !

You are kinder to me than I in any way deserve — I offer
to Y.I.H. my best thanks for your gracious intercession
on my behalf in Prague. The score of the cantata will be
strictly attended to. If I have not yet come to Y.I.H. you
must graciously excuse me ; after this concert for the poor
comes another in the theatre, likewise for the benefit of the
impressario in angustia, and they felt such real shame,
that they let me off the third and the half — for this I have
something new in hand — then it is a question of a new opera
— the subject of which has been settled during the last few
days. Besides I am not feeling quite well — but in a few
days I will come to Y.I.H. ; if I could only be of help, then
would the chief and most ardent wish of my life be fulfilled.
Your Imperial Highness's most faithful and

obedient,
Ludwig van Beethoven.

[According to the original manuscript in the archives of the Gesell-
schaft der Musikfreunde, Vienna; first printed by von Koechel.
The Prague affair is always the same old one regarding the Kinsky
heirs which finally seemed as if it were going to be decided in the
master's favour. Of the Cantata, Der glorreiche Augenblick, we
have sufficiently spoken. With regard to the benefit concerts
mentioned in this letter, v. Koechel says : " What concert Beethoven
gave for himself in the year 1814 I have not been able to find out ;
and as the careful musical critic from Vienna about that time makes
no mention of it in the Leipzig Allgemeine Musikalische Zeitung,
it appears to me not to have taken place." Who the " impressario
in angustia" was, can only be guessed at, possibly Director Ferdinand
von Palfy. The new opera was Treitschke's poem " Romulus,"
yet nothing came of it, neither of any of the opera poems afterwards
offered to the master. (Was trie " impressario " perchance, Beet-
hoven himself ?— Tr.)]

BEETHOVENS LETTERS 339

CCCCXIV To N. VON ZMESKALL

[1814 ?]

Many thanks !

He has already asked for his testimonial, I have seen
several at his house, he surely does not want any more ; but,
if he wishes, as soon as he has this one, he may go to the devil
as soon as he likes. Am I compelled to give him this testi-
monial ? I think not, because then it would be looked
upon as a pledge or a guarantee. To fetch wood, to light
fires, to empty slops, such things are not for such as he, so
he says, etc. etc. You see therefore how little one can judge
of such vermin from their outward appearance ! I expect
still an answer about the T., but there is time up to to-morrow
morning. I gave him a large room with firing gratis, but
he calls it a smoky hole, a room in which I myself, last winter
and also the present one, spent many whole days.

[According to the original manuscript of the Royal Imperial
Court Library, Vienna ; printed by the present editor.]

CCCCXV To the Law Court

[End of 1814]

To THE WORSHIPFUL LAW COURT.

Quite ignorant of legal matters, and thinking that all
claims on an estate must be liquidated, I sent to my legal
friend at Prague the agreement concluded with H.I.H.
Archduke Rudolph, with His Highness, Prince Lobkowitz
and with His Highness Prince Kinsky, by means of which
these noblemen agreed to pay me yearly 4000 florins. My
constant endeavour to make him take the matter to heart,
even, I must confess it, the reproaches which I made to him
as if he had not properly opened proceedings, seeing that the
steps which he had taken concerning the guardianship had
remained fruitless, may have induced him to go to law.

However much this step was against my feelings to
appear as plaintiff against my benefactor, only he can judge
who knows of my high esteem for the late Prince Kinsky.

In these circumstances I chose the shorter way, being
convinced that the princely guardians will be as inclined to
value art as they are to uphold the acts of the late Prince
Kinsky.

According to the enclosed contract, sub A., H.I.H., the

340 BEETHOVENS LETTERS

Archduke Rudolph, likewise their serene Highnesses, Prince
Lobkowitz and Prince Kinsky, undertook to give me 4000 fl.,
until I had obtained a post of equal value ; yes, indeed, in
case through misfortune or old age I was prevented from
exercising my art, these high contracting parties promised
me this sum for life, while I, on the other hand, undertook
not to quit Vienna.

Great was the promise, great the fulfilment of it ; for
I had never a single hitch, and was quiet in the enjoyment
of the annuity until the Imperial finance-patent appeared.
This change of value made no difference as regards H.I.H.
the Archduke Rudolph, for I received his share in redemption
bonds, as formerly in bank-notes, without any reckoning of
the scale ; and so also His Highness, the late Prince Kinsky
promised to pay his contribution of 1800 fl. in redemption
bonds.

But as he neglected to give the order to his treasurer,
difficulties arose for me. Although my circumstances are
not brilliant, still I would not venture to present this claim
to the princely guardians, had it not been that honest men had
themselves gathered this assurance from the mouth of the
late Prince, namely, to pay me the share, as well for the
past as for the future, in Vienna value, as the enclosures
B.C.D. of this suit show. In these circumstances I leave
it to the princely guardians to judge whether rather than
offend delicatesse I had not cause to rest satisfied with the
prince's promise ; hence the objection of the curator to the
witnesses owing to their not being present at the time, was
highly mortifying to me. In order therefore to extricate
myself from this truly unpleasant position I venture to
promise the princely guardians, and to assure them that I,
for the past and the future, am willing to accept 1800 fl.
Vienna value, and I flatter myself that they will graciously
take into consideration that I, on my side, have sacrificed
not a little, since, owing to my high esteem for these noble
princes, I elected to make Vienna my settled residence, and
that at a time when most advantageous offers were being
made to me from abroad. I therefore beg the worshipful
Court to present this petition to the Kinsky guardians and
kindly to inform me of the result.

L. v. B.
Vienna.

[Exactly according to the Fischhoff manuscript in the Royal
Library, Berlin ; first printed by Nohl. The manuscript further

BEETHOVENS LETTERS 341

states that the Prague Law Court gave consent whereby the
guardians, instead of the 1800 fl. assured by writing, were ordered to
pay to the composer a sum of 1200 fl. Vienna value from November
3, 1812, under conditions named. The decision of the Court is dated
from Prague, January 18, 181 5. J

CCCCXVI To FRAU ANTONIE BRENTANO,

Frankfort-on-Main

[1814 ?]

My worthy friend, all my affairs which now seem on the
point of improvement, enable me to accept without scruple
the bill of exchange sent from Franz and yourself — I received
the same from a stranger, who, so it seems to me, had not
the matter very much at heart, for after not finding me at
home at his first visit, he only returned a week later, handed
me the bill without even wishing to come into my room.
Now when I came to Pacher, they had themselves, the day
before yesterday, not received any advice, also, so they say,
they do not know the drawer. I therefore thought it wise
to let you know at once about it and I await your decision.
I should already have sent you back the bill, but, as you know,
I do not understand things of this kind, and therefore could
easily make a mistake. In haste, yours respectfully,

Beethoven.

[According to the original manuscript in the possession of the Beet-
hoven Haus at Bonn ; first printed by the present editor. As from
this time we shall have other letters to the Brentanos, and as these
letters are documents of special importance in the history of Beet-
hoven, we may here say something generally about this collection.
For many years it was known that the Brentano family in Frankfort
possessed a considerable number of important letters written by
Beethoven to Franz and Antonie Brentano. This family was
always most unselfishly ready to help in Beethoven's affairs. The
wife of the former senator, Franz Brentano, the Antonie (die Toni)
known to all intellectual magnates, a daughter of Melchior vonBirken-
stock, came from Vienna. In the Birkenstock house Beethoven
had made the acquaintance, somewhere about 1810, also of Bettina
von Arnim, we'e Brentano. After their marriage, the Brentano's
spent several years in Vienna settling affairs connected with their
inheritance, and then the long intercourse with Beethoven developed
into an intimate and never-to-be-disturbed friendship. See the
editor's " Antonie und Maximiliane Brentano als Verehrerinnen
Beethovens " in " Nord und Sud," 1878. Later on there was an
exchange of letters between the composer and his noble, faithful

342 BEETHOVENS LETTERS

friends at Frankfort, of which some between the years 1814 and
1823 are to hand. In the year 1867 the Beethoven biographer,
L. Nohl, made the acquaintance of Antonie, then 87 years old,
and learned from her much that was new concerning her intercourse
with Beethoven ; and he also gained an insight into the correspond-
ence between the Brentanos and Beethoven. Hence some portions
of this correspondence are to be found in the third volume of Nohl's
biography of Beethoven. The heirs of this family obstinately
hesitated for a long time about letting these letters be published, or
to part with these costly family treasures. At last they came into
the market, about 14 in number, in the year 1890. The Beethoven
Haus at Bonn received nine letters of Beethoven from this family.
After some trouble I succeeded in obtaining from the President of
the Beethoven House the permission to publish these letters ; they
were indeed kind enough to give me copies of them, for which I
express my warmest thanks to Dr. F. A. Schmidt. Further I
decided to travel to Bonn, and to make exact copies from the
originals. I especially remember a " Catalogue of a valuable
collection of autographs and documents from the literary remains
of the senator Franz Brentano and his wife Antonie Brentano, nee
von Birkenstock (sold by auction, by order of Dr. 0. R. von Brentano
at Offenbach and Dr. A. Dietz of Frankfort, on Thursday,
April 9, 1896, by the publishers Josef Baer and Co.)." The above
letter without date is addressed to Frau Antonie. It is worthy of
note that on some of these letters, as well as on other letters from
Dr. Aloys von Weissenbach, there is a blue stamp, on which the
letters LVB. can be clearly traced. This letter appears to belong
to the year 1814, for in a diary preserved to us (in the Fischhoff manu-
script) of the years 1812 to 1818, there is noted under the year 1814,
" I owe F.A.B. 2300 fl., i.e., 1106 and 66 ducats." The initials F.A.B.
surely indicate both Brentanos, Franz and Antonie.]

CCCCXVII To FRIEDRICH TREITSCHKE

[January 1815]

I intend to write Romulus ! and I shall begin soon ; I
will come myself to you ! first once — after that several times,
so that we may talk over and consider the whole matter.

With high esteem,
Your friend,

Beethoven.

[According to Jahn's copy in the Royal Library, Berlin; first
printed by Thayer (iii. 323). So then in 1815 Beethoven had seriously
decided to compose Treitschke's opera poem " Romulus and
Remus." But after a few weeks the Vienna correspondent, Johann

BEETHOVENS LETTERS 343

Fuss, announced that " Herr Fuss had set to music an opera in
3 Acts, entitled Romulus and Remus, for the theatre ' An der Wien.'"
So states Thayer (iii. 325). I could, however, not find anything
of the kind in the place indicated in the Leipzig Allgemeine
Musikalische Zeitung, but only in the No. of December 20,
1815, the following notice : " Our gifted Beethoven, it is said, is
working at a new opera : Romulus, with libretto by Treitschke."
Johann Fuss, the writer on music and composer, was born in 1777
at Teine in Hungary. He was to have been a schoolmaster, but
soon became a music teacher at Prague. As he achieved great
success with his duodrama Pyramus and Thisbe, he went to
Pressburg, in order to seriously study theory under Albrechtsberger,
and soon produced compositions in all branches of the art. He
became leader at the Pressburg theatre, but soon went to Vienna,
where he lived as a teacher of music, composer and correspondent.
The Leipzig Musikzeitung for April 1816 has the following :
" Theatre in the Leopoldstadt. Novelty : Der Käfig, opera by
Kotzebue, music by Fuss. The latter was highly successful."
Already in 1819 he was carried off by a malignant fever. This then
was Beethoven's rival in the Romulus composition. Fuss's Romu-
lus was, as a matter of fact, not produced at the Vienna theatre,
but at Pressburg. The following letter to Treitschke gives further
account of this rivalry, and also the chief motive for which Beet-
hoven gave up the idea of writing a Romulus opera.]

CCCCXVIII To the Same

[January 1815]

Dear Tr. ! I thought to shorten the matter by sending
the copy of this letter to Herr von Schreivogel — but nothing.
You see that this Fuss can attack me in all the newspapers,
unless I can show something against him in writing, or unless
you, or the theatre management, undertakes to settle with
him. On the other hand, the affair with my contract for the
opera is not yet at an end.

I beg you to give me an answer, especially as concerns
the Fuss letter; before the judgment-seat of art the affair
would easily have been settled, but such is not the case
here.

In haste,
Your friend.

Beethoven.

344 BEETHOVEN'S LETTERS

[According to Jahn's copy ; first printed by Thayer (iii. 326).
We can deeply regret that Beethoven just now, when he was thinking
of writing dramatic music, was forced to put an end to his Romulus
composition, the text of which — so it is said — remained in his hands.
The fibre tto must have been thoroughly to his liking. The theatre
director must, however, have taken all possible means to cancel the
contract concluded with Beethoven concerning Romulus, as it was
generally known that the gifted composer Fuss had composed his
Romulus opera. Yet we shall come across a letter written in the
autumn of this year by Treitschke, in which Fuss and Romulus play
a part. Of the theatre director Schreyvogel-West, for many years
director of the Industriekontor, and of his relations to Beethoven,
mention has already been made. (See Letter CXXXIX.)]

CCCCXIX To the Lawyer J. VON KANKA, Prague

[11th January, 1815]
My worthy unique K.,

I receive to-day the letter of Baron Pasqualati, from
which I perceive that you do not wish matters to be hurried.
Meanwhile all the necessary documents have been sent to
Pasqualati ; only please tell him to refrain from taking any
further step. To-morrow a consultation will be held here,
and the result may possibly go off already to-morrow evening
to you and P. Meanwhile I wish you would look through
the document for the Law Court which I sent to Pasqualati,
and carefully read through the enclosures. You will then
see that Wolf and others have not rightly instructed you.
This much is certain, that there are enough proofs there for
any one willing to be convinced. How in the name of fortune
could I ever have thought of legal witnesses, of some written
document with regard to a man like Kinsky, whose honesty,
and magnanimity were universally known ?

With warmest love and respect,

In haste,

Your Friend.
Vienna, 11th January, 1815.

[According to Nohl. This letter concerns the law-suit with the
Kinsky heirs ; the decision of the Prague Land Court has already
been communicated. {See Letter CCCCXVI.)]

BEETHOVENS LETTERS 345

CCCCXX To the Same

[January 1815]
My unique, honoured K.,

What am I to think, say, feel ! Of W. [Wolf] I think
that he has not only exposed his weak side, but has not even
taken trouble to conceal it. It is impossible that he can
have furnished his report with all the necessary orderly
proofs. The order to the pay-office concerning the scale,
was given by von Kinsky, before his consent to pay me my
annuity in redemption bonds, as the evidence shows — one
need only to look at the date ; most important therefore is
this first order. The species facti shows that I was away
from Vienna for over six months. As I was not insisting on
money, I let the matter go ; the Prince forgot to recall the
former order given to the pay-office, but not the promise that
he had made to me, which he repeated to Varnhagen {officer),
as shown by the testimony of Von Oliva, to whom, shortly
before his departure from here, and again, before his death,
he repeated his promise ; and whom he sent for on his return
to Vienna in order that the matter should be set in order
at the pay-office, which, however, owing to his unexpected
death, naturally could not be carried out. The testimony
of the officer Varnhagen is accompanied by a document
from the Russian army, in which he shows himself willing
to confirm it by oath in a court of law. The testimony of
Oliva shows that he also is ready to swear in a court of law.
As I have sent away the testimony of colonel, Count Ben-
theim, I do not say it for certain, but I think that also this
Count in his evidence says that he in any case is ready to swear
to the truth of it in a court of law. And I myself am willing
to swear in a court of law, that Prince Kinsky said to me
at Prague, " that he considered it more than just that I should
have my annuity paid in redemption bonds." Those were his
very words. He himself gave me on account 60 ducats in
gold at Prague, which represented about 600 fl., for owing
to my state of health I had not time to stop any longer, and
travelled to Teplitz. The Prince's word was sacred to me,
and I had never heard anything from his lips which could
have induced me to produce two witnesses before him, or even
to ask him for anything in writing. I see that Dr. Wolf has
altogether managed the matter in a wretched way, and
that you have not been sufficiently made acquainted with
the documents.

346 BEETHOVEN'S LETTERS

Now about the step which I have taken. The Archduke
Rudolph asked me a short time ago, whether the Kinsky matter
was not yet at an end ; he must have heard something about
it. I explained to him that the prospect was not promising,
as I had heard nothing, absolutely nothing. He offered to
write himself, but I was to add a letter, and also make him
acquainted with all the documents connected with the Kinsky
affair. After he had convinced himself, he wrote to the
Chief Burgrave and enclosed my letter to the same. The Chief
Burgrave immediately answered the Archduke and also me.
In a letter to me he said, " that I might venture to hand in a
petition to the Law Court at Prague together with all proofs,
that they would forward it to him, and that he would do his very
best to further my cause." He also sent to the Archduke a
most complimentary letter, yes, he expressly wrote, ''''that he
thoroughly understood the intentions of the late Prince Kinsky
in regard to my affair, and that I might present a petition, etc.'"
Then the Archduke sent at once for me, and said that I
should have this petition drawn up and shown to him ; he also
thought that one should petition for the redemption bonds,
as there was sufficient proof, even if not in legal form, of the
intentions of the Prince, also that no one could possibly doubt
that the Prince, had he continued to live, would have kept his
word. Were he to-day heir, he would demand no other proofs
than those which are to hand. Hereupon I sent this document
to Baron Pasqualati, who will be kind enough to present it
to the Law Court. Only after this matter had been commenced,
Dr. Adlersburg received a letter from Dr. Wolf, in which the
latter pointed out to him that he had made an offer of 1500 fl.
As they have got as far as 1500 fl. and as high as the Chief
Burgrave, we shall probably get to 1800 fl. It is not a matter
of favour ; the late Prince was one of those who pressed me
not to accept the annuity of 600 ducats in gold, offered from
Westphalia ; "I ought not to eat any Westphalian ham,"
he said at the time. Another call to Naples I likewise
refused later on. I can justly claim compensation for the
loss which I suffered. What had I while the annuity was paid
in bank-notes, not even 400 fl. in convention money! ! ! — and that
instead of such a salary as this one of 600 ducats. There are
proofs enough therefore for one who wishes to act honestly.
And what has now become of the redemption bonds ? ? ! ! !
Anyhow, it is no equivalent for that which I have lost. In
all the newspapers this affair was pompously lauded to the
skies, while I was near to beggary. The intention of the

BEETHOVENS LETTERS 347

Prince is evident, and, in my estimation, the family, if they
are not to lower themselves, are bound to act in that sense.
Besides, the income through the death of the Prince has rather
increased than diminished, so that there is no just reason
to allow me less.

I received yesterday your friendly letter, but now I am
too tired to write to you all I feel towards you. As regards my
affair I trust to your intelligence. It seems that the Chief
Burgrave is the principal person ; do not show that you
know anything about what he wrote to the Archduke, it
might not be wise ; let no one but you and Baron Pasqualati
know of it. If you have read through the papers, you have
seen sufficient to show you how unjustly Dr. Wolf has con-
ducted the affair — the thing must be done quite differently.
I leave it to your friendship for me to act as you think best.
Expect my highest thanks, and excuse me for not writing
any more to-day ; a thing of this sort fatigues me — more
than the most important musical task. My heart has already
found something for you which will also set yours beating,
and you will soon have it. Do not forget me poor worried
creature, and act — do your very best.

With the greatest respect,

Your true friend,

Beethoven.

[According to Nohl. With regard to Varnhagen von Ense and
Oliva's intervention in this tedious law-suit, see the Letter CCXCIII
to Varnhagen of July 14, 1812, also the letters of the same year
to Princess Kinsky.]

CCCCXXI To the Same

Vienna, 14th January, 1815.
My worthy unique K.,

The long letter, which here follows, was written when we
were still of opinion to stick to the 1800 fl. Owing to the
last letter of Baron Pasqualati, there was opposition to my
proposal, and Dr. Adlersburg advised to adhere to the steps
which you have already taken. But as Dr. Wolf writes that
he in your name has moved for 1500 fl. per annum, I beg you
at any rate to try for the 1500 fl. I send the long letter,
which was written before we received the letter of Baron P.
dissuading us from that course, as you might find many a
reason for at any rate getting 1500 fl. Also the Archduke

348 BEETHOVEiYS LETTERS

has written for the second time to the Chief Burgrave, and
one can conclude from his former answer to the Archduke
that he will certainly exert himself, and at least obtain the
1500 fl.

Farewell, I cannot write a single word more, things of
this sort exhaust me. May your friendship hasten the end ;
for if the thing turns out so badly, I must leave Vienna,
because I could not live on this income. For here we have
reached such a point, that everything has gone up to the
highest price and must be paid for in ready money ; the
last two concerts which I gave cost me 1508 fl. Had it not
been for the noble present of the Empress, I should have
had next to nothing left.

In haste,
Your admirer and friend,

Beethoven.

[According to No hi.]

CCCCXXII To BARON J. VON PASQUALATI

[January 1815]
Honoured Friend !

I beg you kindly to send by the bearer of this, but not
open, the form in which the Kynsky receipt must be made
out. Nb. for 600 fl. per half year from the month of April
until, etc. I will at once send the receipt to Dr. Kanka at
Prague, who last time got the money without any delay ;
from this sum I will at once pay off my debt to you ; should
however it be possible for me to get the money here, before
it comes from Prague, I will at once bring it to you myself.
With deep respect,

Your admirer and friend,

Beethoven.

[According to the original manuscript ofthe Vienna Court Library ;
first printed by Nohl.]

CCCCXXIII Letter for BARON PASQUALATI

[January 1815]

Baron Joseph von Pasqualati is herewith requested
kindly to receive for me the money from Prince Kinsky's

BEETHOVENS LETTERS 349

estate, and to take what steps are necessary for that
purpose.

(L. S.)
Ludwig van Beethoven.
Vienna, the 1815.

[According to Thayer (iii. 329).]

CCCCXXIV To HERR S. A. STEINER

Vienna, 1st February, 1815.

Honourable General Lieutenant !

I have to-day received your letter to my brother, and am
satisfied with it, yet I must beg you to bear in addition the
costs of the pianoforte scores, as I first have to pay for every-
thing, and one thing dearer than another, so it would fall very
heavily on me ; besides I do not think that you can complain
of the honorarium of 250 ducats. However, I do not care
to complain, hence see to the scores yourself, but everything
must be looked over by me, and, if necessary, improved ;
I hope that you are satisfied with this. Also you might
give to my brother the collections of dementi's, Mozarfs,
Haidri's pianoforte works ; he wants them for his little son.
My very dear Steiner, do this, and do not be like a stone,
however stony your name may be. Farewell most excellent
General Lieutenant, I am always,

Your most devoted Superior General,

Ludwig van Beethoven.

[According to Jahn's copy in his Beethoven Papers in the Royal
Library, Berlin; first printed by Thayer (iii. 338). The here-
mentioned pianoforte editions are those of the 7th and 8th Sym-
phonies (Op. 92 and Op. 93), which were published by this firm in
the year 1816. Here also is mention made of the nephew Carl,
who after the death of the father in 1815 became a factor of great
importance in the history of the composer. (" Stein " German
for stone, makes clear the play upon the name " Steiner." — Tr).]

CCCCXXV To J. VARENA, Attorney of the

Exchequer, Graz

Vienna, 3rd February, 1815.

I was not able at once, my worthy friend, to answer your
honoured letter, and at the same time thank you for your

350 BEETHOVENS LETTERS

present ; you always wish to put me to shame, and, as I see,
to keep me your debtor I hope that your health has im-
proved, for I was very anxious about it in Baden, and,
owing to my own state, it was impossible for me to show you
outwardly the sympathy which I feel inwardly for so ex-
cellent a man as yourself. With regard to a piano for your
daughter, you will soon get news, as I would like to procure
you a really good one, and that is not the affair of a moment ;
but you will soon receive full explanations, and perhaps also
satisfaction. My brother is ill, and men in that state gener-
ally have fancies. As he hears that I know you, he begs me
to send you the enclosed ; perhaps our good TJrsulines may
be of help in the matter. Please excuse me if I trouble you
with something of this kind, if you could without incon-
venience take in the animals described, I beg you at once to let
me know ; all costs I take upon myself so as to give him
pleasure ; as I have told you he is not well and has set his
heart on this.

In haste,

Your truly admiring friend,
Ludwig van Beethoven.

[According to the original manuscript in the possession of C.
Meinert of Frankfort ; first — but very incorrectly — printed by Thayer
(iii. 340) according to Jahn's copy. Beethoven by way of excep-
tion here undertakes to get a pianoforte for his friend Varena's
daughter ; of his ideal custom in such matters mention has already
been made (see Letter CXXXIII). Further letters on the same sub-
ject follow still in this year. The master's sick brother Carl, as a
lover of animals, has all kinds of fancies, which Beethoven with
touching care is trying to satisfy. Of other fancies we shall hear
something in letters to Frau Brentano during this year.]

CCCCXXVI To MR. GEORGE THOMSON, merchant

IN THE MUSICAL LINE, EüINBOURGH, SCOTTLAND

Wien, 7 Februar, 1815.
Sir!

Many concerns have prevented my answers by your
favors, to which I reply only in part. All your songs with
the exception of a few are ready to be forwarded, I mean
those to which I was to write the accompagnements ; for
with respect to the 6 Canzonettes, which I am to compose.
I own that the honorary you offered is totally inadequate.

BEETHOVENS LETTERS 351

Circon stances here are much altered and taxes have been so
much reised after the English fashion that my share for
1814 was near 60 £ ; besides an original good air — and what
you also wish — an Overture, are perhaps the most difficult
undertakings in musical compositions. I therefore beg to
state that my honorary for 6 songs or airs must be 35 £ or
seventy imp1 Ducats and for un Overture 20 £ or 50 imp1
Ducats. You will please to assigne the payment here as
usual, and you may depend that I shall do you justice. No
artiste of talent and merit will find my pretensions extravagent.

Concerning the overture you will please to indicate in
your reply whether you wish to have it composed for an easy
or more difficult execution. I expect your immediate
answer having several orders to attend, and I shall in a little
time write more copiously in reply of your favors already
received. I beg you to thank the author for the very in-
genious and flattering verses, which obtained to be means.
Allow me to subscribe myself,

Sir,
your very obed*, humble serv1,

Ludwig van Beethoven.
Vienna,

Feb. 7, 1815.

[According to Thayer (iii. 452). The letter was only signed
by Beethoven. The high fees exasperated Thomson, who, accord-
ing to Hadden, wrote, "Two years ago you asked 25 ducats for 6
original melodies, now you ask three times as much." T. offers
35 ducats, adding : "If you will not accept 35 ducats, I must ask
you to have the goodness to put all the verses I have sent you on
the fire." We learn from Hadden that in 1816 Beethoven arranged
German, Polish, Russian, Tirolian, Venetian, and Spanish folk
melodies ; and not only that they were sent to Thomson, but that
they were most graciously received. What has become of them ?]

CCCCXXVII To DR. J. KANKA, Prague

Vienna, 24th February, 1815.
Deeply honoured K.,

I have several times thanked you through Baron Pas-
qualati for the kind trouble that you have taken for me, and
now I myself send you a thousand thanks. The intercession of
the Archduke you cannot have looked upon with much favour,
or rather it prejudiced me in your eyes. You had done
already everything when the intercession of the Archduke

352 BEETHOVENS LETTERS

came about. Had this happened earlier, and had you not
had the one-sided or many-sided or weak-sided Dr. W.[olf],
the matter according to the assurance of the Chief Burgrave
himself to the Archduke and myself would have had a more
favourable result for me. On that account your services remain
ever and eternally to be acknowledged by me. Now the Court
has deducted 60 ducats, which only I myself mentioned, and
of which the late Prince neither gave any order to the treasurer
nor to any one else. Where the truth could harm me they
accepted it, why should they not do so when it would be of
use to me, how unjust ! Baron Pasqualati will ask you about
several other matters.

To-day I am already too tired, for I have had to give a
lot of commissions to poor P.fasqualati] ; that is to say
they fatigue me more than the greatest composition. It is a
strange field, in which I ought not to plough. This affair has
caused me many tears, much depression of spirits. Now it
will be soon time to write to Princess Kinsky — and now I
must stop. I shall be glad when I can write to you only
really from my heart, and it will more often happen as soon
as I am rid of these worries. Receive once more my heartiest
thanks for all that you have done for me — and love

Your admirer and friend,

Beethoven.
[According to Nohl, and first printed by him.]

CCCCXXVIII To COUNTESS MARIE VON ERDÖDY

2Mh February, 1815.

I have read, worthy Countess, your letter with great
pleasure, and the renewing of your friendship has been
equally gratifying. It has long been my wish once again to
see you, and also your dear children, for although I have
suffered much, I have not yet lost my earlier feelings for
childhood, for beautiful nature and for friendship. The
Trio, and everything which as yet is not published, stands,
dear Countess, at your service ; as soon as it is written, you
shall receive it. Not without sympathy and interest have
I often inquired after your state of health, but now I am
coming in person to you, and glad to show my interest in
all that concerns you. My brother has written to you, you
must be a little indulgent with him, he is really an unfortunate,

BEETHOVENS LETTERS 353

suffering man. I hope that the approaching spring will have
the best influence on your health and perhaps make you quite
well again. Farewell dear, worthy Countess, my best re-
membrances to your dear children, whom in spirit I embrace.
I hope soon to see you.

Your true friend,

Ludwig van Beethoven.
[Address :]
To the Countess Erdödy
nee Countess Niszky.

[According to Nohl. This Erdödy letter is not in the Schöne
collection of the Erdödy letters, neither, of course, in Jahn's copy
of the letters of Beethoven to this Countess. The here-named Trio
is the one in B flat (Op. 97), which was published in the following
year (1816) by Steiner. Brother Carl was now seriously ill ; he
died in November of the same year.]

CCCCXXIX Three-part Canon for L. SPOHR'S Album

Vienna, March 3, 1815.

Kurz ist der Schmerz, ewig ist die Freude.

[This Canon is in the B. and H. edition, series 23. There is a
facsimile of it in Spohr's Autobiography (vol. i., Supplement).]

CCCCXXX To BREITKOPF & HAERTEL, Leipzig

10th March, 1815.
Most worthy H !

You would misjudge me if you accused me, for some reason
or other, of forgetting you. What has happened since I wrote
to you the last time from Teplitz ? probably bad rather
than good ! — but we will talk about that rather by word of
mouth. If I delay in bringing out my many new works, it
is probably to be ascribed to the uncertainty of all things
which take place in human intercourse, for what was certain
in this respect and what is still certain ? Circumstances,
such as raising money, compel me to enter into connection
with a publisher here, how ? You will soon learn, for
I think that I shall be again able more easily to transact
business with you. Many thanks for your musical paper,
I will shortly send you something for it.

As to the demons of darkness, I see that these, even in

354 BEETHOVENS LETTERS

the brightest light of our day, will never let themselves be
quite scared away. One of my acquaintances wishes to
know Chladin's whereabouts, be kind enough, en passant,
just to tell me. In your last numbers of the musical paper
where I think there was noted down, music which I ought to
have received, yet I received nothing, perhaps it is an error —
or laziness [Traegheit] on the part of Herr Traeg ! ! ! Now
farewell, your present political state does not please me,
but — but — but — well, children who are not grown up want
dolls — so there is nothing more to say.

In haste your truly most devoted,

Beethoven.
[According to the original manuscript in the possession of the
B. and H. firm at Leipzig ; unprinted. This is unfortunately the last
letter of Beethoven to this celebrated firm ; it appears to have
been answered on May 16, 1815. Many important and most
interesting letters could have been communicated from the B. and
H. archives. It would be useless to inquire why this important
correspondence came to so sudden an end. Let us be satisfied with
what we have got, and thank the firm for having given us access to
so many precious letters. A passage in this last one about money
compelling him to come to an arrangement with a publisher here,
probably gives the key to Beethoven's transferring his connection
from B. and H. to Steiner and Co. in Vienna. Through a consider-
able loan Beethoven had got himself into a position of dependence
with this new and rising firm. Neither must it be overlooked that
the personal connection of the master with all the members of the
Steiner firm thoroughly suited his original, commanding nature.
The Generalissimus gave orders, and the others had nothing to do
but to obey. This connection resulted in an astonishing number of
letters, which show us to the full Beethoven's overflowing humour.
We must not bid farewell to Beethoven's relations with the B. and
H. firm without referring to manuscript corrections of faults, which
have been preserved by the firm. This highly interesting piece of
information must, however, be given, namely, that the correc-
tions of faults in an important chamber work (Op. 69), were not,
for the most part, attended to ; at the right moment further refer-
ence will be made to this matter.

CCCCXXXI Corrections of misprints to BREITKOPF

& HAERTEL

[1815]
Faults in the pianoforte part of the first Allegro,

bar 7 ffo I I 1 1 ! I I 1 : the E marked

BEETHOVENS LETTERS

with a * must be C, namely,

355

Two shakes are

omitted in the 11th bar, on B

* *

A \ is wanting to the second A in bar 12, namely,

4te

— y-^^^s=^ ' m tne 22n(* bar of the second part of the

first ^4 ZZegro, there must be fjmo (fortissimo) on the first note;

■ß- _ ■&- _

in the 151st bar in the bass, instead of gP

+. M- -m- Jß-

there must be j s ; '— i-

Second movement Allegro molto, in the 1st bar the ff
must be struck out — from there, after the signature E!

has been changed to 9~Ji§=z: is a similar case, and must,
instead of ff, have a p placed on the first note. The second
time when the signature 3rzlffi£ is changed into gl3fc=

the § is again to be left out, and a p put at once in the
first bar.

Adagio cantabile. In the pianoforte part in the 17th

bar, instead of

N§

I , the notes marked with

356

BEETHOVENS LETTERS

a * ought to be,

InP

namely, the •«-' slur between the

two Es must be taken away and placed above in the soprano,
and below in the bass as indicated here. In the 18th bar of
the same movement the arpegsrio sign is left out, and it

ought to be there, namely, so

§E

In the Allegro vivace in the pianoforte part'(Nb.), in the

third bar there are two ties

Faults in the 'cello part — first Allegro at the 27th bar
there is a dot behind the minim A which must be taken
away — in the 69th bar a sharp has been left out, thus

fi£-

-ST

i 1

— w — w — r

-m~

^w,

rrr

—» — •

jk J j j j ' J J=S before the D. Between the

77th

and 78th bars there must be a tie, which has been left out,

(& . T~~ . .-I .
namelv, 1 I I 1 -f=£j it is here indicated by a *.

(Nb) in the second part —

in the 72nd bar there is a sharp instead of a natural, it must

„fry

in the 125th bar instead of an E there
C

must be a C, thus

* Beethoven's explanation is by no means clear.

BEETHOVENS LETTERS 357

In the Adagio cantabile in the 5th bar the slur is to be

left out over the two staccato signs, » », namely,

where here the * is marked ; in the 17th bar in the turn
there is a note, namely, D, here marked with a *, which is

left out ^^^,

in the Allegro Vivace in the
4th bar there must be a slur over the five notes from where
the * is marked i£_J J-j- J I ^rE: —in the 56th

bar dolce is left out, and it must be added — in the second
part of the same movement at the 9th bar, instead of F sharp
there must be G sharp, as here, where the * is marked

■ii-L>l->-

at the 58th bar of the same move-

ment cresc. has been forgotten — at the 116th bar the
slur — ' and the • » staccato signs have been omitted, namely,

w^ j *-rr^

[On the 4th empty page of these corrections of faults the firm has
written : " After these corrections have been made I want the paper
with the list of faults returned. H.")

On a sheet containing corrections (not in Beethoven's hand)
of the Egmont Overture and the Ariettas the master has written :

" The 3 German Ariettas are to be again dedicated to the Prin-
cess Kinsky."

And so it appeared as Opus 83 : Three songs, which were
published by B. and H. in November 1811.

All the above corrections of Beethoven, which again offer
testimony to the painful conscientiousness which he devoted to the
publication of his works, belong to the Sonata for pianoforte and
'cello (Op. 69), published in April 1809 by B. and H. See Letters
CLXVIII to CXCVIII together with the explanations. All players
of this famous Sonata will do well to enter in their copies the
corrections according to this letter.]

358 BEETHOVEN'S LETTERS

CCCCXXXII To SIR GEORGE SMART, London

Vienna, lQth March, 1815.

Allow me to thank you for the trouble which, as I
hear, you have several times shown by taking my works
under your protection. I hope you will not find it
indiscreet, if I beg you to answer Herr Häring's letter as soon
as possible. I should feel highly flattered if you would
make known your wishes to me, so that I may be able to
fulfil them. You will at all times find me ready to show
my gratitude for the favour which you have bestowed on
my children.

Yours gratefully,

Ludwig van Beethoven.
Vienna, 16th March, 1815.

[According to Thayer (iii. 337). These fines were written for
Beethoven by his friend, the banker and violin player, John Häring ;
they are only signed by him. This was the beginning of the im-
portant and direct connection with the influential musician, George
Smart. The latter, together with Birchall, Neate, Stumpff, Ries
and Moscheles, were among the friends of the master living in
London, who were continually active in the cause of his music.
Häring had on the same date written a letter to Smart in favour
of Beethoven. (See letter, Thayer iii. 335.)]

CCCCXXXIII To VARENA, Attorney of the
Exchequer, Graz

Vienna, 21st March, 1815.
My worthy B !

Not being well and very busy, it was not possible for me
to make inquiry until yesterday — here is the result. From
Schanz you can have as good a piano of six octaves as he
can possibly make, for the price of 400 fl. Vienna value,
including packing expenses — Seiffert asks 460, but would
probably also give it for 400 ; there are, however, other
honest manufacturers, as I hear, where one can get a good
durable instrument for something under the price of 400 fl.
But it is not easy at a moment's notice to look out and find
a good one such as you ought to have — for that I must have
more time — answer soon whether you agree to the price,
and then in a few weeks you will have a good durable piano.
As regards the payment, the manufacturers here in loco

BEETHOVENS LETTERS 359

wish to be paid when the instrument is sent off ; for they
say in this matter they are often exposed to unpleasantness.
That is all, my good Varena, that I can say to you now — as
soon as you have given me your opinion on the matter, I will
take steps to serve you in the best manner possible.

Kind regards to your daughter and other members of the
family.

Your truly devoted friend
and servant,

Beethoven.
[Address :]
To Chevalier Varena,

Conseiller du gouvernement et
Procureur Fiscal de l'Autriche
interieure ä Graz (en Steirge).

[According to the original manuscript in the possession of C.
Meinert, Frankfort ; first printed by the editor in Die Musik
(2nd June number, 1906). On the seal side of the letter is written
by another hand, " Herr. Ludwig v. Bethoffen fives at the Mölker
bastion." In this letter it is a question of purchasing an instrument
for Varena, Attorney of the Exchequer. We shall soon have
another letter which forms an excellent supplement on the same
matter. In the present letter itis interesting to note that Beet-
hoven mentions for the first time the piano manufacturer Seiffert,
whereas in other letters the names of Graf, Schanz, Streicher, are
very frequent.]

CCCCXXXIV To DR. VON KANKA, Prague

Vienna, 8th April, 1815.

It is certainly not allowed — to be so friendly as I believed
myself with you, and to be living so inimicably near without
seeing each other !!!!!!!! Tout ä vous you write. Oh,
you humbug, I said. No, no, it is too horrid — I would thank
you willingly 9000 times for the trouble you have taken for
me, and abuse you 20,000 times for thus going away, for
thus coming. So everything is illusion : friendship, empire,
imperial dignity, everything is mist which is dispersed
by every breath of wind and shaped anew ! Perhaps I shall
go to Teplitz, but that is not certain ; on that occasion I
might let the Praguers hear something of my music — what
do you think, if indeed you have any thought about me ? As
the matter with Lobkowitz is also ended, I can say finis,

360 BEETHOVENS LETTERS

although there is still a small fy, for shame. Brother Pas-
qualati will soon pay you another visit ; he also has had much
trouble on my account. Yes, yes, it is easy to talk of justice,
but it is difficult to obtain it from others. How can I serve
you by means of my art? Say, do you wish to have sung
the soliloquy of a fugitive king, or the perjury of a usurper
— or about two friends living near each other who never see
each other ? In the hope of soon having an answer from
you, since you are now so far away from me that it is so
much easier to find one another than if we were near.
I am your ever faithful friend,

Ludwig van Beethoven.

[According to Nohl (Letters, p. 354). This capricious, blunt
letter is to punish the worthy lawyer and friend for having been in
Vienna without paying a visit to his friend. The king probably
was the ex-King of Holland or ex-King Jerome (" König Lustik ")
or the usurper, the ex- Emperor Napoleon.]

CCCCXXXV To CARL AMEND A, Talsen

Vienna, 12th April, 1815.
My dear good Amenda !

The bearer of this letter, Count Keyserling your friend,
paid me a visit and awoke the remembrance of you in me,
by saying that you are living happily, that you have children,
neither of which can I say of myself. It would be too great
a digression to say more about this, another time when you
again write tome on the subject. I think 1000 times of you
and of your patriarchal simplicity, and how often have I
wished that I could have such men as yourself about me —
but fate, for my good or for that of others, has not granted
me my desire. I may say that I live almost alone in this greatest
city of Germany, and am forced to live apart from all the men
whom I love, whom I could love. On what sort of a footing
is music at your place ? Have you already heard there any
of my great works ? I say great — in comparison with the
Almighty everything is small.* Farewell my dear good A.,
and think sometimes of your friend,

Ludwig van Beethoven.
When you write to me, you need only put my name.

* This should be compared with a passage in a letter written by Beethoven to
Schott in the summer of 1824 : " What is all this in comparison with the Great
Composer above — above — above — and rightly the Highest of all. Here below it is
a mere mockery. The tiny dwarf — the Almighty."

BEETHOVENS LETTERS 361

[According to Nohll in the Neue Zeitschrift für Musik. The
autograph is in the Courland archives at Mitau. Count Keyserling
who, according to this letter, was personally acquainted with
Beethoven, is not mentioned in any of the biographies of the
composer. This man was probably the father of the well-known
traveller, Count Alexander Keyserling. This letter takes no
notice of one written by Amenda to Beethoven from Talsen,
March 20, 1815, which is contained in Schindler's Beethoven Papers,
in the Berlin Royal Library. The letters therefore must have
crossed. The very interesting Talsen letter begins with these
words : " My Beethoven ! After long guilty silence, I approach
your noble Muse with an offering, so that you may be reconciled
with me, and may once again think of Amenda, who has almost
become a stranger. Oh, those unforgettable days ! When I was
so near to your heart, when this loving heart and the enchantment
of your great talent continually bound me to you ! They still
stand in their most beautiful light before my soul. They are, in
my inmost feeling, a jewel of which time can never rob me."
Amenda proceeds to give a long account of the opera poem which
he was sending : " Bacchus, grand lyrical opera in three Acts, by
Rudolph von Berge." Although Amenda asserts of the poem
that " its equal does not exist. Therefore only you and no other
should set it to music," Beethoven paid as little attention to this
Bacchus as to all the other poems which were placed before him
after Fidelio. Another reason for his not doing so, was that he
had taken a fancy to Treitschke's Romulus poem, and had seriously
begun to set it to music. We have, however, neither a Romulus
nor a Bacchus opera. Of the relations between Beethoven and
Amenda nothing more is known. Provost Carl Amenda died at
Talsen in 1836, about nine years after the death of his great friend.]

CCCCXXXVI To JOHANN PETER SALOMON,

London

Vienna, 1st June, 1815.
My honoured Countryman !

I always hoped to see my wish fulfilled of speaking to
you one day in London, but many hindrances have always
prevented me carrying out this wish ; and just because I
am not in a position to do so, yet I hope that you will not
refuse m^- request which consists in this, that you would be
kind enough to speak with a publisher there and offer him
the following works of mine : a grand Terzett for pianoforte,
violin and 'cello, 80 ducats ; Sonata for pianoforte with a
violin, 60 ducats ; Grand Symphony in A (one of my best) ;
a small Symphony in F ; Quartet for 2 violins, viola and

362 BEETHOVENS LETTERS

'cello in F minor ; a grand Opera in score, 30 ducats ; Can-
tata with chorus and soli ; score of the Battle of Vittoria
and Wellington's Victory, 80 ducats ; also the pianoforte
score if, as I am assured here, it has not already been pub-
lished. I have, by the way, added to several works the fee
which I think will be right for England ; I however leave these
and the others to you to do what you think best about them.
I hear indeed that Cramer is also a publisher, but my pupil
Riess lately wrote to me that he had already declared himself
opposed to my compositions ; but I hope for no other reason
than to benefit art, and so I have nothing to say against it.
If however Cramer wishes to have some of these harmful art
works, he is as acceptable to me as any other publisher — I only
reserve to myself the right of giving them to a publisher here,
so that these works can really only come out in London and
Vienna, and indeed at the same time. Perhaps it will be possible
for you to show me how I can at least get from the Prince
Regent the costs of copying the Battle Symphony on Welling-
ton's Victory in the battle of Vittoria, for I have long given up
the thought of getting money from any other quarter. I have
not even been honoured with an answer as to whether I may
dedicate this work to the Prince Regent ; while I am pub-
lishing it I hear indeed that the work has already appeared
in London in pianoforte score — what a misfortune for an
author ! While the English and German newspapers are
full of the success of this work which has been performed at
Drury Lane Theatre, while the theatre itself had two good
receipts, the author himself cannot point to a single friendly
line about the matter, not even compensation for the cost
of copying ; yes, and further, the loss of all chance of profit ;
for if it is true that the pianoforte score is published, no
German publisher will take it. It is probable that the piano-
forte edition will soon be reprinted by some London publisher
or other, and I shall lose honour and fee. Your well-known
noble character gives me reason to hope that you will show
some sympathy, and be active on my behalf. The bad paper
money of our State has already been reduced to a fifth part
of its value, and I was paid according to that scale ; after
many struggles I however received the full value together
with the named loss. We are now at a moment when
the paper money has already risen far above the fifth part
but my annuity seems about to become nothing for the
second time, without any hope of compensation. My only
means are my compositions. If I could count upon the

BEETHOVENS LETTERS 363

sale of them in England that would be most advantageous
for me. I shall be most grateful to you and hope for an
answer very soon.

Your admirer and friend,

Ludwig van Beethoven.

[From the original manuscript in the possession of the manu-
facturer, A. Simons, Elberfeld. The present editor was not only
indebted to Mr. Landau of Oberkassel, who called his attention
to this important original letter, but also to the proprietor of it,
who kindly sent the original to the Royal Library for his use.
The letter first appeared in Robert Schumann's Neue Zeitschrift
für Musik, of January 16, 1843, in an article headed : " A Letter
of Beethoven." The letter is stuck down under a glass frame so
that the address cannot be seen. Schumann, however, in his
paper gives that address as : "To Mr. Salomon, Conzertmeister
in London." With regard to Salomon, see Letter XLIV. In this,
very year, 1815, he had a fall from his horse and died soon after
and was buried in Westminster Abbey. In February of this year
the Battle Symphony was performed for the first time in London
at Drury Lane Theatre and achieved exceptional success. The
work was performed during several seasons, and Smart won from
it a clear gain of £1000, and the composer nothing.]

CCCCXXXVII To COUNTESS MARIE VON ERDÖDY

[Summer 1815]

Dear, dear, dear, dear, dear Countess, I am taking baths
which only end to-morrow, so that I shall not see you
and all your dear ones to-day. I hope you are enjoying
better health. It is no consolation to better men to say
to them that others also suffer ; yet one must always institute
comparison, and then it will be found that we all suffer or err
only in a different way. Take the better edition of the Quartet
and give the bad one, with a soft shake of the hand, to the
'Cello ; as soon as I come to you, my care will be to put him
into a quandary. Farewell, embrace your dear children
in my name, although it occurs to me I ought no longer to
kiss the daughters, as they are already grown up ; in this
matter I do not know what to do ; act according to your
wisdom, dear Countess.

Your true friend and admirer,

Beethoven.
To the Countess Marie Erdödy.

364 BEETHOVENS LETTERS

[According to Jahn's copy in his Beethoven Papers in the Royal
Library, Berlin ; first printed by Dr. Schöne. Now commences
a charming intercourse between Beethoven and his " father con-
fessor," Marie Erdödy ; the tutors of her children, Magister Brauchle
the 'cellist Linke and the bailiff Sperl, help to give to the pleasant
joyous life on the Jedlersee estate of the Countess the necessary
relief ; thus the letters to the Countess and to Magister Brauchle
are connected. The Quartet was very probably the one in F minor
dedicated to Zmeskall (Op. 95). which was ready in manuscript in
1810, although it only appeared in print in the following year.
The " better edition of the Quartet " was probably a better copy.]

CCCCXXXVIII To MAGISTER BRAUCHLE

[Summer 1815 ?]

My dear B., it would be very difficult, however much I
should like it, to come to you to-day, it was my will and wish
to pounce down upon you with bag and baggage — for the
moment I do not see how. I can manage it to-day, miserable
time-wasting business which I have this morning can alone
determine what will happen this afternoon — if it is not to
be to-day it will certainly be in a few days. It has caused
me some trouble to get rid of certain scruples with regard to
the matter, and I also think that I have really firmly deter-
mined to come to the Countess — hence I will certainly hasten
to do so, all the more as my nature can only get on well
with beautiful Nature, and I have made no preparations
elsewhere to yield to this my unconquerable inclination.
A thousand kind regards and wishes for you and for the
Countess.

Yours ever,

Beethoven.
For Herr von Brauchle.

[According to Jahn's copy ; first printed by Dr. A. Schöne. The
" time- wasting " business still refers to the Kinsky law-suit. It
appears that the master again went to the " divine Brühl ; " at
least, so it appears from a note in the diary of the Fischhoff
manuscript.]

CCCCXXXIX To the COUNTESS VON ERDÖDY

[Summer 1815]

I heard, my worthy Countess, that you have here an
apothecary's shop where letters can be sent to you. I thought

BEETHOVENS LETTERS 365

that you have not been able as yet to read what I have written
with regard to the Trio — I see that the violin and 'cello parts
are already written there, I send the same to you, and you
can make use of them so long as I am not going to have them
published. I was very pleased with the letter of your dear
daughter M., and hope soon to see her and her dear mother
and all who belong to them ; this I shall carry out as
soon as I possibly can. Farewell worthy Countess.

Your true friend,

Beethoven.
As soon as Brauchle comes into town he must pay me
a visit, up to 12 o'clock I am always to be found.

[According to Jahn's copy ; first printed by A. Schöne. The Trio
mentioned is the one in B flat (Op. 97) dedicated to the Archduke,
which appeared at Steiner's in 1816.]

CCCCXL To the Same

[Summer 1815]
My dear worthy Countess !

You again make me a present, and that is not right, you
thus deprive me of all small services which I would
show you. It is uncertain whether I can come to you to-
morrow morning, however much I should like to do so — but
certainly in a few days, even should it be only in the after-
noon. My position is very entangled, more about it by
word of mouth. Greet in my name, and press to your heart
all your children so dear to me. Give a gentle box on the
ear to the Magister, a stately nod to the chief steward ; the
'cello is to betake himself to the left bank of the Danube and
to play until every one is drawn over from the right bank,
in this manner your population will soon increase. For
the rest as before, I calmly take my way, over the Danube ;
with courage, when it is of the right kind, one wins in every
direction. I kiss your hands many times, remember,

Your friend,

Beethoven.
So do not send any carriage,
rather dare ! than a carriage !

The promised music will be sent from town.

[According to the original manuscript in the possession of C.
Meinert of Frankfort ; first printed by Dr. Schöne. This original
letter of Beethoven's to his " father confessor " is probably the

366 BEETHOVEN'S LETTERS

only one which has been preserved ; the others as already related,
were burned after 0. Jahn had, in the well-known cunning manner
taken a copy of them. The here-named Bailiff is Sperl, who
belonged to the household of the Countess. (The postscript has
a play upon the word " Wagen," which, as substantive, means
carriage ; as verb, " to dare.")]

CCCCXLI To MAGISTER BRAUCHLE

[Summer 1815]
Dear Brauchle !

I had scarcely returned home when I find my brother
asking in a lamentable way about the horses. I beg you
kindly to go to Langen Enzersdorf about the horses, and take
at my expense horses in Allersee, I will most willingly pay
what it costs. His illness (that of my brother) already causes
a certain anxiety, let us then help where we can ; I can only
act in this and in no other way ! I expect a speedy fulfilment
of my request, and a friendly answer from you — spare no
expense, I will willingly pay everything. It is not worth while
for the sake of a few wretched gulden to let any one suffer.

In haste,

Your true friend,

Beethoven.
All kind messages to the dear Countess.

[According to Jahn's copy ; first printed by Dr. Schöne. The
sympathy for the sick brother, Carl, again fills us with admiration ;
it is the last illness of the brother, who dies in the November of
this year.]

CCCCXLII To the ARCHDUKE RUDOLPH

[Summer 1815]
Your Imperial Highness !

Please let me have the Sonata in E minor ; I want it
fof correcting — on Monday I shall wait on your Imperial
Highness ; new events are the cause that many works,
which are to be printed, have to be hastened on as quickly
as possible, and I myself am only half well. I beg your Imperial
Highness to be kind enough to let me a have few words about
your state of health ; I always hope to get better news, yes,
soon the very best news about it.

Your Imperial Highness's most
obedient and faithful servant,
Ludwig van Beethoven.

BEETHOVENS LETTERS 307

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von
Koechel. The pianoforte Sonata in E minor appeared in the
summer of 1815.]

CCCCXLIII To MAGISTER BRAUCHLE

[Summer 1815]

Good Magister ! Send your servant early on Tuesday
to my rooms in the city, where what was mentioned is waiting
for the Countess, whom I greet from my heart and all who
belong to her — I shall probably see you soon.

Yours,

Beethoven.
For Herr von Brauchle
c/o Countess Erdödy.

[Written in pencil on the address.]

This note was written 3 days ago.
[According to Jahn's copy ; first printed by Dr. A. Schöne.]

CCCCXLIV To the Same

[Summer 1815]

Everything is in such confusion with me that I cannot
even think about coming to you as I should so much like,
perhaps to-day, to-morrow, but at latest the day after I
shall be with you — the most wretched, everyday, unpoetical
scenes surround me — and put me into a bad temper — in
addition to all the kindnesses of the Countess, I must fill up
the measure of my indiscretion by asking for her pianoforte
for a few days in my room. Schanz has sent me such a bad
one, so that he must soon take it away. The former I cannot
get rid of as it is not mine. All kind greetings to the dear,
good countess — I do not deserve all the kindness she shows
me ; and I become more and more perplexed when I think
of how I shall make up for it.

Your friend,
Beethoven.
For Herr von Brauchle.

[According to Jahn's copy ; first printed by Dr. Schöne. Schanz
was one of the most excellent pianoforte manufacturers in Vienna ;
otherwise the composer favoured the Streicher-Stein and the Graf

368 BEETHOVEN'S LETTERS

instruments. This letter may be compared with the one written
in this year to Varena at Graz.]

CCCCXLV To MAGISTER BRAUCHLE

[Summer 1815]

My dear friend I do not come to-day — but for certain
to-morrow evening, or at latest early the day after — it would
be unfair if you were to estimate my affection for the Countess
and for you all according to the visits I pay you. There
are causes for the conduct of men which cannot always be
explained, yet which are the outcome of dire necessity — it
would be very kind if the dear Countess would send me a
bottle of Spa water, I ought not to discontinue it for such a
long time — for the rest I remain

Your debtor and friend,

Beethoven.

[According to Jahn's copy ; first printed by Dr. Schöne.]

CCCCXLVI To COUNTESS MARIE VON ERDÖDY

[Summer 1815]

Worthy Countess, forgive my having kept back your
music so long, I only wished to have a copy taken of it, but
the copyist kept me waiting for ever so long. I hope I shall see
you soon again and for longer than yesterday ; I press your dear
children in my thoughts to my heart, and beg you to mention
me to the others who take interest in me. I rejoice heartily
at the progress of your health, and even at the increased
fortunate circumstances (which you, dear Countess, so well
deserve), although I do not wish that you should ever count me
amongst those who hope to profit by them. A very hearty
farewell.

From your friend,

Beethoven.
To the Countess Erdödy, nee Countess Nizky.

[According to Jahn's copy ; first printed by Dr. A. Schöne. In
order to give a proof of the exceptional idolising of her great friend
by the Countess, we will give a poetical invitation which was sent
to the master.

BEETHOVEN'S LETTERS 369

" Apollo's chief son !

Greatest of great spirits,

The first master in composition

Now known to Europe,

To whom even Apollo yields,

And from the throne of the Muses

Rewards with his crown.

Hear our request,

Remain to-day in our midst —

Thou great man, Beethoven

Give fiat to our hopes.

The old Marie

The Young Marie

The unique Fritzi

August detto

Magister ipse

The cursed 'cello

The old Baron of the Empire

The Chief Bailiff.

CCCCXLVII To MAGISTER BRAUCHLE

[Summer 1815]

I am not well, my dear Brauchle, but as soon as I am
better I will come and see you ; vexed about many things ;
more sensitive than all other men, and with the plague of my
bad hearing, I often find only sorrows when in the company
of other men. I hope that our dear Countess is still improv-
ing. Let the 'cello have a gingerbread cake baked in the
form of a violoncello, so that he may practise upon it, if not
with his fingers, with his stomach and his mug.

As soon as I can, I will come to you for a few days, and
bring with me the two 'cello Sonatas. Farewell ! in my
thoughts I kiss and embrace all the three children. Anyhow
with me there is always a But.

Farewell dear B.

All kind wishes to the Countess for her prosperity.

Yours,

Beethoven.

[According to Jahn's copy ; first printed by A. Schöne. The
two 'cello Sonatas were those in C and D (Op. 102), which were
written during this summer. On the manuscript of the first
Sonata is written, " Free Sonata for pianoforte and 'cello, by L.
v. Bthvn., 1815, towards the end of July " ; on the autograph of

I 2 A

370 BEETHOVENS LETTERS

the second : " Sonata beginning of August 1815." These two
Sonatas, dedicated to the Countess Erdödy, appeared in the year
1817 at Simrock's, in Bonn.]

CCCCXLVIII To N. VON ZMESKALL

5th July, 1815.

Would it not be possible to speak with you, dear Z., and
where ? I have often wanted to visit you, but with the best
good-will it was not possible, for I am aware you are at home
only at certain hours, which however are not known to me — I
only wish to ask you something, and am waiting to hear from
you when this can be ?

Yours,

Beethoven.

[According to the original manuscript in the Vienna Court
Librae ; first printed by La Mara.]

CCCCXLIX To the ARCHDUKE RUDOLPH

Vienna, the 23rd July, 1815.
Your Imperial Highness !

When you were lately in the city, this chorus again came
into my head. I hastened home to write it down, but I was
longer about it than I at first thought I should be, and so
to my great sorrow I missed Y.I.H. The bad habit which I
have had from childhood of always having to write down
my first ideas, without their often succeeding, has also
harmed me here.— I therefore send to your Imperial Highness
my accusation and excuse, and hope to find grace with you.
Probably I shall soon be able to visit your Imperial Highness
and make inquiry about the health so dear to us all.

Your Imperial Highness's faithful

and most obedient,
Ludwig van Beethoven.
Vienna, the 23rd July, 1815.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von
Koechel. The chorus mentioned in this letter is probably "Es ist
vollbracht," the chorus in Treitschke's operetta, Die Ehren-
pforten. Highly worthy of notice is the composer's own admission
as to his manner of composing.]

BEETHOVEN'S LETTERS 371

CCCCL To the Same

[Summer 1815]
Your Imperial Highness !

I hope to receive pardon if I ask Y.I.H. graciously to let
me have the two Sonatas with 'cello obligato which I had
copied for your Imperial Highness ; I only want them for a
few days, and then will at once return them to your Imperial
Highness.

Your Imperial Highness's

most obedient servant,

L. v. Beethoven.

[According to the autograph in the Gesellschaft der Musikfreunde,
Vienna.]

CCCCLI To the Same

[Summer 1815 ?]
Your Imperial Highness !

Again yesterday and the day before, and, unexpectedly,
just at the time in the afternoon when I wished to betake
myself to you, not feeling well, I could not come these two
days. I shall, however, have the honour of waiting on you this
evening, unless I should receive any order to the contrary. —

Your Imperial Highness's
most obedient
Ludwig van Beethoven.
[Address :]
To His Imperial Highness,
the Archduke Rudolph.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde^ Vienna ; probably unprinted. By
another hand is written on it : " Vienna anno 1811." It is quite
possible that this letter of excuse already belongs to an earlier period ;
it can belong to any summer from 1811 to about 1815.]

CCCCLII To V ARENA, Attorney of the

Exchequer, Graz

Vienna, 23rd July, 1815.

You will, my dear Varena, receive the piano at latest
in a fortnight.

It was not possible for me to get it sooner for you ; besides,
in all matters about carrying out anything, discharging com-
missions, &c, I am an extremely unskilful man.

372 BEETHOVENS LETTERS

It costs 400 fl. with packing ; any other person would have
had to pay 600 fl. Schuster will at once pay here the 400 fl. ;
if you want decorations, please add 50 fl. and write at once
to me.

The instrument is by Schanz, from whom I also have one.

Yours in haste,

Beethoven.
Remember me to your family.

[According to Jahn's copy ; first printed by the editor in his
" Neue Beethovenbriefe." This letter is connected with one ad-
dressed shortly before to the same friend. Schanz was considered
at that time one of the best pianoforte manufacturers in Vienna.
It is not unimportant to remember Beethoven's custom with regard
to commissions on pianos. (See Letter CXXXIII.)] j ,i ... ;

CCCCLIII To S. A. STEINER & CO.

[1815]

The G — t is requested to send his Diabolus, so that I may
tell him my mind about the Battle translated into real Turkish.
Many changes must be made.

The G— s.

[According to Seyfried. The Diabolus, i.e., Diabelli, was the
amiable composer and publisher, Anton Diabelli. He was active

in the firm of Steiner, surnamed the G 1 (general lieutenant) ;

as partner of this firm, he was frequently called " Provost " ;
we shall frequently meet with him. His name is intimately con-
nected with the firms of Cappi and Spina.]

CCCCLIV To TOBIAS HASLINGER

[1815; June?]
Best of Friends !

Be good enough to send me the Rochlitzian writing
about B. 's writing; we will send it back to you at once by the
flying, driving, riding, or going post. —

Wholly yours,

B— N.
[Address :]
Herr Tobias von Haslinger.

[According to the original manuscript in the Royal Library, Berlin ;
first printed by Thayer (iii. 490), who gave the date June 1815,
though this is not supported by the original manuscript. Thayer may

BEETHOVENS LETTERS 373

have been so far right in giving the June date, since in the
months of May and June in 1815 there were long and original
articles about Fidelio in the Leipzig Allgemeine Musikzeitung,
and these are what Beethoven refers to as " Rochlitzian writing."
The articles were written by Professor Amadeus Wendt under the
title " Gedanken über die neuere Tonkunst, und van Beethoven's
Musik, namentlich dessen Fidelio." These articles, in which
Beethoven was first described as the " musical Shakspeare,"
attracted the special notice of the composer.]

CCCCLV To S. A. STEINER

[1815 ?]

Best-born, most astonishing and most worthy of admira-
tion G 1. We beg you to convert 24 ducats in gold into

bank-notes, according to yesterday's price-current, and to
send these to us this evening or to-morrow evening, when we
will at once hand out and hand in the 24 ducats. It would
please us greatly, if your praiseworthy Adjutant brought
us these, as I want specially to speak with him. As a Christian
he must forget all malice ; we recognise his merits and also
his demerits. In short, we wish to see him. This evening
would be the most convenient for us. We are, most astonish-
ing G 1, most devoted to you.

G s.

[According to Jahn's copy ; first printed by Thayer.]

CCCCLVI To the Same

[1815 ?]

In the hope of soon being able to see the G — 11 — t quite
reconciled we then await him with open arms, as formerly,
and here send a portion of our bodyguard, 25 of the most
honest fellows, and in the profession of war the mightiest
supports of the State. We remain, and hope soon to be able
to look upon our G — 1 1 — t with joyful eyes. The Adjutant
must have the tip of his left ear well pulled.

The G— s.

[According to Jahn's' copy ; first printed by Thayer (iii.490/.).
The twenty-five honest fellows of the bodyguard are twenty-five
ducats. The Adjutant Haslinger has been guilty of some neglect,
hence the tip of his ear is to be pulled.]

374 BEETHOVENS LETTERS

CCCCLVII To STEINER

[1815 ?]
I send herewith to my best G — 1 1 — t the corrected piano-
forte score, the improvements of Czerny are to be adopted ;
for the rest the Gilt has again to look at the Adjutant's many
mistakes in the pianoforte score. In conformity with this,
the same punishment as yesterday is to be applied to his
other ear. Should he however be found quite innocent,
the punishment must still be carried out, so that he may be
struck with fear and terror of all crimes in the future. Mean-
while a report has to be drawn up of yesterday's and to-day's
punishment. I embrace my best Gilt, while sending the
pianoforte score of the Symphony in F which is very difficult
to perform.

The

L. v. B.
[According to Jahn's copy ; first printed by Thayer (iii. 491).
Here the pianoforte score is either only of the 7th Symphony or
of the 7th and 8th. It is known that the pianoforte edition of the
A Symphony was looked through by Beethoven himself, improved,
and dedicated to the Empress of Russia. From this letter we learn,
with certainty that Carl Czerny improved the pianoforte score ;
his improvements met with the highest approval. Haslinger,
who is here found fault with, arranged the pianoforte score of the
Symphony in F, which was only improved by Beethoven. Both
Symphonies were published by the Steiner firm in 1816.]

CCCCLVIII To the Same

[1815 ?]
Most honoured G — l l — t.

I want your final advice regarding the agreement of
which I spoke to you ; meanwhile I cannot go out to-day,
yet wish to see the matter ended. Would it not be possible
for my prized primus of the general staff to come and see
me still to-day, so that I can talk over the matter with him,
or early to-morrow. I very much beg him to do this ; and
in return, so often as the G — 1 1 — t is in need I will make
a note [i.e., compose something]. The interview ought to
last at least half an hour.

The shameful performance of the Adjutant is entered
in the register (not however in the organ register) ; what

bad tone would in that case sound out ? bhM~zE

BEETHOVENS LETTERS 375

[According to Jahn's copy ; first printed by Thayer (iii. 491).
The " primus " of the general staff must have been Diabelli, other-
wise referred to as the general Provost, whereas the Adjutant with
his blameworthy conduct is Tobias Haslinger. Beethoven's
frequent play upon words appears again here : Note and Not
(note and need).]

CCCCLIX To the Same

[1815; December (?)]
Dear Steiner !

I want the score of the opera Fidelio for a few days in
order to revise a quartet-score from it, and then I will return
it to you at once.

Also I beg you to let me have the score of the Trio for
pianoforte, together with the two written-out parts for violin
and 'cello, also the score of the violin Sonata in G — I want
both works only for one evening, and can return them to you
at once, early next morning.

Never doubt my sincerity and honesty ; in this way we
shall, I hope, although my poor unfortunate brother is no
longer living, never become strangers to each other.

Your friend,

Beethoven.

[According to Thayer (iii. 491 /.), who published this letter
from the original formerly in the possession of Sir George Grove.
The Trio (Op. 97) and the Violin Sonata (Op. 96) are here referred
to ; both works were published by Steiner in the summer of 1816.
This letter was written after the death of the brother Carl (November
1815), and therefore probably belongs to November or December.
The brother always helped in business matters.]

CCCCLX To TOBIAS HASLINGER

[1815 ?]

Dear Sir ! The Herr Adjutant is expected with three
copies of the Battle, and also one for the . . . (ordinary), to
send two for the illustriss mus, with copper-plate engraving,
but not by Kupfer ; first of all you will be well received and
again dismissed with honourable commissions to the G — t.

The G— s.

[According to Jahn's copy ; first printed by Thayer (iii. 492).
The Battle Symphony appeared in score at Steiner's only in March

376 BEETHOVENS LETTERS

1816, so that this note can belong only to the spring of 1816, although
the work must have been finished in 1815. " Illustrissimus "
probably refers to the "Archduke Rudolph.]

CCCCLXI To MR. BIRCHALL, London

[Autumn 1815]

" Mr. Beethoven send word to Mr. Birchall that it is
severall days past that he has sent for London Wellington's
Battel Simphonie and that Mr. B[irchall] may send for it
at Thomas Coutts. Mr. Beethoven wish Mr. Bl. would make
ingrave the sayd Simphonie so soon as possible and send him
word in time the day it will be Published that he may prevent
in time the Publisher at Vienna.

In regard the 3. Sonata which Mr. Birchall receive after-
werths there is not wanted such a gl hurry and Mr. B. will
take the liberty to fixe the day when the are to be Published.

Mr. B[irchall] sayd that Mr. Salomon has a good many
tings to say concerning the Symphonie in G [?A].

Mr. B[eethoven] wish for an answer so soons as possible
concerning the days of the Publication."

[According to " Beethoven's Verbindung mit Birchall und
Stumpff," by Chrysander, in vol. i. of his " Jahrbücher für Musik-
alische Wissenschaft." Birchall was proprietor of a music business,
which after his death passed into the hands of C. Lonsdale, who for
a long time was Birchall's agent. " All the here-published letters,"
says Chrysander, " are in the possession of Robert Lonsdale (son of
L. Lonsdale), and were kindly placed by him at my disposal." We
also learn that " The French letters were written by Beethoven
himself, the others were only signed by him." With the above
undated note begins the classic English from Vienna.]

CCCCLXII To BARON TREITSCHKE

Döbling, 24th September, 1815.

Dear worthy Friend ! — It was not possible for me to
see you this week, I am too busy even to-day to enjoy the
gradually disappearing beautiful weather, and to rove
about in the half withering woods. I should long ago
have commenced on your Romulus, but the theatre manage-
ment will only grant me one evening's receipts for such a
work ; and however many sacrifices I have willingly made and
am making for the sake of my art, I really lose too much

BEETHOVENS LETTERS 377

by such a condition. I am paid, for instance, for an oratorio
such as the Mount of Olives, which only takes half an evening,
or only 1 hour and 9 minutes, 200 ducats in gold. Do
you consider what, by giving such a work in a concert here
or elsewhere, I gain besides ? and I am firmly convinced
that any place in Germany or elsewhere would pay me at
least as well as any other man. For Romulus I have
asked from the theatre management, 200 ducats in gold and
one evening's receipts. Dear Tr. — do what you can to
induce them to make other and more honourable conditions
for me than the mere one evening's receipts. Moreover,
if I were to tell them what I receive in the way of fees for
my other compositions, I assure you that they would not
find the conditions exorbitant which I have mentioned and
settled upon for one opera. I therefore beg you in a friendly
way to speak with N. N. ; they cannot wish me to be a loser.
I am quite ready on the conditions I have named to begin
writing the opera, and to have it ready for the stage at latest
in February or March. Up to Thursday will be four days,
when I shall come to you for the answer. There is nothing
I should like better than to be able to write altogether gratis,
but in the present state of things such a thing would be difficult
for a German, or much more an Austrian artist ! Only London
could make one so fat, that one would be able afterwards
to resist in Germany, or rather here, the leanest bits.

Wholly yours,
Thursday I come for the answer,
In haste,
Your friend Beethoven.
Döbling, 2Uh September, 1815.

[According to Jahn's copy ; first printed by Thayer (iii. 351 /.).
In an interview of the period, mention is made of this "haggling
management " as the cause why Beethoven lost all interest in the
Romulus composition, so that one understands all the better the
many outbreaks of anger of the master with regard to this manage-
ment. Louis Spohr tells us many interesting things in his Auto-
biography. Among others we read : " After my return from Gotha
I found him occasionally in the theatre ' An der Wien,' close behind
the orchestra, where Count Palffy had given him a free seat. After
the opera he generally accompanied me to my house and spent the
rest of the evening with me. . . . His favourite conversation
at that time was a sharp criticism of the two theatre managers,
Prince Lobkowitz and Count Palffy. With regard to the latter he
abused him often in a loud voice while we were still inside his theatre,

378 BEETHOVENS LETTERS

so that not only the public going out, but even the Count himself
in his bureau could hear. This perplexed me very much, and I
always tried to turn the conversation on to some other subject."
For the rest Spohr had no understanding for the creative importance
of our hero. Some of his remarks with regard to the gigantic crea-
tions of Beethoven may be given. Spohr says : " I frankly confess
that I have never liked the last compositions of Beethoven. Yes,
and among these I must reckon the much-admired Ninth Symphony
in which the first three movements, in spite of some strokes of genius,
are worse than the whole of the eight former Symphonies ; but the
fourth movement appears to me so monstrous and wanting in taste,
and so trivial in its conception of the Schiller Ode, that I have never
been able to understand how a genius like Beethoven could have
written it. I find therein new proof of what I already noticed in
Vienna, that Beethoven lacked aesthetic culture, and a feeling for
what is beautiful."]

CCCCLXIII To the Lawyer DR. J. VON KANKA

[Autumn? 1815]
My dear worthy amiable K. !

I have just received good news from syndic Baier in R.,
which you yourself have communicated with regard to
Austrian Law Court. As regards the other matter, you shall
be perfectly satisfied.

I take the liberty of asking you again to look after my
affair with the Kynsky house, and for that enclose the necessary
receipt. Perhaps there may be another way, which mean-
while occurs to me too late, by means of which I need never
trouble you in future. Already since the 15th October I have
had a bad cold, and am still suffering from the effects of it,
and also my art. I hope, however, that I shall gradually get
better, and at least be able to show myself again rich [reich]
in my small kingdom [Reich] of tones. I am indeed poor in every-
thing else — through the times ? through poverty of spirit, and
where ? ? ? ?

Farewell — for the rest everything around us strikes one
dumb ; this however shall never happen to the ties of friend-
ship and of souls which bind us together.

I boldly proclaim myself as always

Your admiring and loving friend,

L. v. Beethoven.

[According to the original manuscript in the possession of
C. Meinert, Frankfort ; first printed by Nohl. Also this letter

BEETHOVENS LETTERS 379

concerns the law-suit with the heirs of Baron Kinsky. There is
mention of a Syndic " Baier." It may be that this lawyer is
connected with " von Beyer " to whom Beethoven wrote in the
year 1813 (No. CCCLIX).]

CCCCLXIV To N. VON ZMESKALL

The 16th October, 1815.

I only announce to you that I am here and not there, and
I wish likewise to know from you whether you are there or
here — I should like to speak to you for a few moments when
I know that you are at home and alone. Live well, but not
as a voluptuary— proprietor, commandant Pasha of various
rotten fortresses ! ! ! ! !

In haste, your friend,

Beethoven.

[According to the original manuscript in the Court Library,
Vienna ; first printed by Nohl.]

CCCCLXV To the ARCHDUKE RUDOLPH

Autumn, 1815 (?).
Your Imperial Highness !

You must almost believe that my illness is a pretence.
But it is not so, I am compelled to get home early of an even-
ing ; for the first time that your Imperial Highness was
gracious enough to send for me, I afterwards returned straight
home ; but as from that time I seemed to be better, I made
my first attempt the evening before last to stay out a little
longer. Unless your Imperial Highness sends any order to
the contrary, I shall have the honour of waiting on you this
evening about 5 o'clock. I shall bring with me the new
Sonata, but only for to-day; as it is going to be printed at
once, it is not really worth while having it copied out.
Your Imperial Highness's most

obedient and faithful servant,

L. v. Beethoven.

[According to the original manuscript in the archives of the
Musikfreunde, Vienna ; first printed by Nohl. Beethoven's excuses
were certainly not pretence ; the master was unfortunately only too
often ill ; and nearly always after 1815. The here-named Sonata
can only be the one in A (Op. 101) which was played in public in
February 1816, but only published by Steiner in 1817.]

380 BEETHOVENS LETTERS

CCCCLXVI To the COUNTESS MARIE ERDÖDY

Vienna, 19th October, 1815.

My dear honoured Countess !

As I am bound to see, my anxiety is aroused for you with
regard to your journey, and your occasional troubles when
travelling, but the aim appears really to have been achieved by
you, and so I consoled myself, and also speak words of consola-
tion to you ; we mortals with immortal minds are only born for
sorrows and joys, and one might almost say that the most
excellent only receive their joys through sorrows. I hope soon
to receive news of you, your children must be a consolation
to you, and their honest love and endeavours to do all that is
good for their dear mother, are already a great reward for
your sorrows. Then there is the honourable Magister, your
true squire — then many other rascals, among whom Violon-
cello, master of the guild, sober justice in the High Bailiff
— that is a following which would satisfy many a king.
Nothing about myself — that means nothing about nothing.
God give you further strength to arrive at your Temple of Isis,
where the refining fire will consume all your evil, and you
will arise a new phcenix.

[AccordingjtcTjalm's copy ; first printed by Dr. Schöne. The
deep ethical thoughts contained in this letter especially the one
about the most distinguished men receiving joy through sorrow
recall the words of Isaiah xlviii. 10. "I have refined thee, but not
with silver ; I have chosen thee in the furnace of affliction." Here
reference is made to the Isis Temple of the Countess. Probably
Beethoven is referring to the temple which the Countess erected to
the master. Anton Schindler in the first edition of his biography
of Beethoven states that Countess Erdödy erected to her teacher
and friend in the park of one of her castles in Hungary, a beautiful
temple over the entrance of which was an inscription which expressed
homage to the great artist. The 'Cello, master of the guild, is Linke,
the master's " cursed 'cello," who as well as the other persons con-
nected with the house have already been mentioned in a letter of
invitation to Majesty crowned with laurels, &c]

CCCCLXVII To N. VON ZMESKALL

24th October, 1815.

Well — also ill-born (as any other person).

We are to-day in Baden and are bringing with us a few

BEETHOVENS LETTERS 381

withered leaves for the distinguished naturalist Ribini.
To-morrow we will inflict our presence on you, i.e., visit]you,
&c. &c.

Yours, most truly,

L. v. Beethoven.

[According to the original manuscript in the Vienna Court Library ;
first printed by Nohl. The Ribini mentioned was probably Peter
Ribini, Imperial Court Secretary, and a distinguished scholar in
many branches. He was born at Pressburg in 1760 and died at
Vienna, 1820. In his Necrology of Baron Birkenstock, the prceceptor
Austria, of 1810, Ribini shows that he was friendly with the Birken
stock house, and owing to that with Beethoven himself.]

CCCCLXVIII To ROBERT BIRCHALL, LONDON.

Vienna, 28th October, 1815.
Dear Sir,

I announce to you that the pianoforte score of the
Battle and Victory Symphony of Wellington's Victory has
already been sent to London several days ago, and, indeed, to
the house of Thomas Coutts in London, whence you can
fetch the same. I beg you to hurry up as much as possible
in printing this, and to fix for me the day on which you wish
to publish it, so that I may announce this in time to the
publishers here. With the three works which follow, such
great haste is not necessary ; these you will very soon receive,
when I shall take the liberty of fixing myself the day — Mr.
Salomon will be kind enough to explain to you why there
is more haste with the Battle and Victory Symphony.

I await your answer, which I hope will soon come, with
regard to the fixing of the day of publication of the now
received works.

[According to Thayer (iii. 354). The correspondence of Beet-
hoven with Birchall and Stumpff is contained as already mentioned
in the " Jahrbüchern für Musikwissenschaft," vol. i., 1863. The
above letter, however, forms an exception ; it was communicated to
Thayer for his Biography by Herr A. Ganz. With regard to the first
so-called letter to Birchall in wonderful English (see No. CCCCLXI.)
Thayer gives the right explanation that that letter is merely an
attempt of some German living in England to reproduce in German
the contents of the following letter of Beethoven.]

382 BEETHOVENS LETTERS

CCCCLXIX To Mr. BIRCHALL, London

" Give me leave to thank you for the trouble you have
taken several times, as I understand, in taking my works
under your protection, by which I don't doubt all justice has
been done. I hope you will not find it indiscreet if I solicit
you to answer Mr. Häring's letter as soon as possible. I
should feel myself highly flattered, if you would express your
wishes, that I may meet them, in which you will always find
me ready as in acknowledgement for the favors you have
heaped upon my children.

Yours gratefully,
Ludwig van Beethoven."

[Vienna 16 March, 1815]

[This was dictated by Beethoven, translated into English by
John Haering of Vienna, and then signed by the composer. My
thanks are due for it to Mr. Edward Speyer of Kidgehurst, Shenley.
Thayer gave it in German (iii. 337).]

CCCCLXX To N. VON ZMESKALL

[28th October, 1815]

Dear Z., you will have thought it not nice on my part not
to have waited until you were dressed, but I had to go some-
where, where I was expected, and when I came to you, it
was already a quarter of an hour later than the time at which
I was expected at the other place. From your house there
is also at least a quarter of an hour's walk, so that they were
waiting for me for a whole half- hour. I, therefore, against
my wish to stop longer at your house, had to act, and go off
as quickly as possible not to arrive still later.

Yours,

L. van Beethoven.

[According to the original manuscript of the Court Library,
Vienna ; first printed by La Mara.]

CCCCLXXI To S. A. STEINER

[30th October, 1815]

Dear Steiner ! There is a Polish Countess here who is
much taken with my compositions, although we do not deserve

BEETHOVENS LETTERS 383

it ; she would like to play the pianoforte arrangement of the
Symphony in A quite according to my intentions ; and as she is
only stopping here to-day and to-morrow, she would like
to play it at my house — I therefore beg you earnestly to lend
me the same, even though it be in the handwriting of the
Diabolus diabelli, to-day or to-morrow for a few hours ; I
give you my word of honour that no use shall be made of it
to your disadvantage.

Your most devoted,

L. v. Beethoven.
[Address :]
H. v. Steiner.

[According to the original in the Berlin Library, Jahn, and
after him Thayer, have by mistake written the Symphony in
D (the second) instead of the seventh. The remark of Steiner in his
own handwriting on the back of the letter, that he had lent the
pianoforte edition of the Symphony in A, leaves no doubt as to
which Symphony it was.]

CCCCLXXII To N. VON ZMESKALL

The 3\st October, 1815.

Dear Z. It is impossible to come to you to-day, as I am
invited to dinner and cannot get away from there before
5 o'clock — be good enough to order the tailor for to-morrow
about 3 o'clock when I then for my own sake, if indeed it
must be, will turn in to the Z — D — coffee-house — should
you however be prevented to-morrow, let me know it in
good time — if you do not write or send a message I shall
come.

In haste,

Your friend Beethoven.

[According to the original manuscript in the Vienna Court
Library ; first printed by La Mara.]

CCCCLXXIII To FRAU ANTONIE BRENTANO,

Frankfort-on-Main

November — October, 1815 (?).
Most honoured Friend !

As Iheard that you are in correspondence with Geimiiller,
and therefore enclose the certificate — the swine are rightly

384 BEETHOVENS LETTERS

so named. I am sorry that considering your generosity to
me you must also feel this — truly our situation through the
wretched finance matters of which there is no end to be
hoped for, has again become most distressing — Another
matter which I must put before you. It is about a pipe-
bowl ! pipe-bowl ! Among the persons (and their number
is legion) who suffer, is also my brother, who on account of
his bad health had to apply for his pension ; the situation
is very hard at the present time, I do all that I can, but it
is not sufficient. He possesses a pipe-bowl which he thinks
he could best dispose of in Frankfort. It is difficult to
refuse him anything in his present sick state, and I therefore
take the liberty to ask you to let him send you this pipe-bowl ;
as so many people are constantly coming to your house,
you may perhaps be able to dispose of it. My brother thinks
that you will perhaps be able to get 10 louis d'or. I leave
that to your wisdom — he wants many things ; he has to
have a horse and carriage to keep him alive (for his life is
very dear to him, just as I would as willingly lose mine ! !)
Farewell honoured friend, I heartily greet Franz, I wish him
all happiness and joyous life, also your true and admiring
friend Beethoven greets your dear children.

Address :]

To Frau Antonie von Brentano, nee von Birkenstock,
Frankfort on Main.

To be delivered at the Schilling House (2nd floor) in the
Gallengasse.

[According to the original manuscript in the Beethoven] Hans
Bonn ; first printed by the editor in the Sunday Supplement of the
Vossische Zeitung, July 26, 1903. There are two points to notice in
this letter ; one, the complaint about the wretched state of finance in
Austria at that time, whereby also Beethoven's annuity was heavily
diminished, a complaint which is to be found in many letters;
secondly, the letter speaks about the unfortunate position of the
sick brother Carl, who died on November 18, 1815. The
biographers Nohl and Thayer contradict one another on a point of
some importance. According to Nohl (iii. 36 /.) the treasury
department under date October 23, 1815, states " there appears to
be no testimony of the illness being incurable " but rather " a
special and reprehensible dislike to work, and a general slackness."
" He should at once go to work." " Nevertheless," continues
Nohl, " the pension was given — even before he was dead." Thayer
has a different account : "A few weeks before his death Carl on
account of his weak health begged to be excused from his service —

BEETHOVENS LETTERS 385

his request was, however, rejected in the roughest manner by an
order, concerning which Beethoven afterwards wrote the words :
" This wretched cameralistic production caused the death of my
brother ! ' " Of a pension being granted to Beethoven Thayer,
however, says nothing. The present letter shows us that Nohl
was right ; the brother of the composer received a pension. An-
other point in this letter deserves short mention. Many who read
this will wonder how a bank official in such poor circumstances as
are here depicted could afford to keep a horse and carriage. The
explanation is given in a clause of the brother's Will which was
signed not very long before his death. It runs thus : "I must also
state that the carriage, horse, goat, and peacocks, also the plants in
pots in the garden, belong to my wife who inherited them, together
with the money, from her grandfather's estate." The here and else-
where named Geimüller (more correctly Geymiiller) was a highly
esteemed banker at Vienna. (The name apparently leads Beethoven
to think of " Geier " = Vulture. — Tr.) Many distinguished men in
art and science frequented his house. Also Franz Grillprazer was
very soon a guest at this house after the success of his first drama.]

CCCCLXXIV To the ARCHDUKE RUDOLPH

{November 1815, after the 15tK\

Your Imperial Highness !

Already since yesterday mid-day I am prostrate from
the great strain caused by the unexpected death of my
unfortunate brother. It was not possible for me yesterday
to send an excuse to your Imperial Highness, therefore I
beg this to be graciously accepted ; I believe, however, that
I shall certainly be able to wait to-morrow on your Imperial
Highness.

Your Imperial Highness's most faithful and
obedient servant,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von
Koechel.J

CCCCLXXV To MR. BIRCHALL, London

Vienna, 22nd November, 1815.

Enclosed you will receive the pianoforte edition of the
Symphony in A. The pianoforte edition of the Symphony

I 2B

386 BEETHOVENS LETTERS

of Wellington's Victory at the battle of Vittoria was sent
off four weeks ago through the agent, Herr Neumann to
Messrs. Coutts and Co. there ; so they must have been in
your hands already since a long time.

In a fortnight you will still receive the Trio and the
Sonata in exchange for which please pay to Thomas Coutts
and Co. the sum of 130 gold ducats. I beg you to hasten with
the publishing of this composition, and to inform me of the
day of publication of the Wellington Symphony, so that I
may take my measures here.

With respect, I remain,
Yours faithfully,

Ludwig van Beethoven.
Mp.

[According to the " Jahrbücher für Musikwissenschaft," 1863,
vol. i. p. 430.]

CCCCLXXVI To FERDINAND RIES, London

Vienna, Wednesday, the 22nd November, 1815.

Dear Ries ! I hasten to write to you that I have sent
off by post to-day the pianoforte edition of the Symphony in
A, addressed to the firm of Thomas Coutts and Co. As the
Court is not here, there are no couriers, or very few ; besides,
this is really the safest way. The Symphony must be published
about March, I will fix the day. Things have already been
too much delayed for me to be able to fix a shorter term.
For the Trio and the Sonata for violin there is more time,
and both will be in London in a few weeks. I beg you
earnestly, dear Ries, to look after this matter, so that I
may receive the money ; sending the things is expensive ;
I want it.

I have lost 600 fl. of my yearly pension ; at the time
of the bank-notes it did not matter ; then came the redemp-
tion bonds, and thus I lost 600 fl. After several years' vexa-
tion, with entire loss of the annuity— and now we have arrived
at the point, that the redemption bonds are worse than ever
the bank-notes were ; I pay 1000 fl. house rent, you can
form an idea of the misery which the paper money causes.
My poor unfortunate brother (Carl) is just dead. He had
a bad wife ; I may say he had consumption for several
years, and in order to make life easier for him, I reckon

BEETHOVEN'S LETTERS 387

that I gave him 10,000 fl. in Vienna coin. For an English-
man that is nothing, but for a poor German or rather Austrian
it is a lot. The poor fellow had much changed during the last
years, and I can say I pitied him from my heart ; and it now
comforts me to be able to say to myself, that with regard to
maintaining him I have nothing to reproach myself with.
Tell Mr. Birchall to make good to Mr. Salomon and to you
the cost of postage of your letters to me and mine to you ;
he can deduct it from the sum which he has to pay me ;
I want those who work for me to suffer as little as possible.

Wellington's Victory at the Battle of Vittoria must have
reached Th. Coutts and Co. long ago. Mr. Birchall need not
pay the money until he has all the works. Make haste and
let me know the day when Mr. Birchall publishes the piano-
forte score. For to-day I only beg you to show warmest
zeal in this matter ; I am, whatever it may be, at your
service. Farewell from my heart, dear Ries !

Also the title on the pianoforte score.

Your friend,

Beethoven.

[We know already that the here-mentioned German violinist,
J. P. Salomon, together with Ries, Neate and others, was very
active in the cause of Beethoven's music ; we also know that
Salomon fell from his horse in August 1815, and died November 25,
of the same year.]

CCCCLXXVII To N. VON ZMESKALL

31st December, 1815.

I will certainly come to your house my dear Z. about
10 o'clock to-morrow. I am very sorry that I am putting
you to so much inconvenience.

Yours in haste,

Beethoven.

[According to the original manuscript in the Vienna Court
Library first printed by La Mara.]

CCCCLXXVIII To CHARLES NEATE

Vienna, December 1815.
My dear Mr. Neate,

I have received a letter from Mr. Ries, as amanuensis to
Salomon (who has had the misfortune to break the right

388 BEETHOVENS LETTERS

shoulder in a fall from his horse), and he tells me on the 29th
of September, that the three Overtures which you took of
me for the Philharmonic Society four months ago, had not
then reached London. This being 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 like to revise the Overture in C major, as it may
be somewhat incorrect. With regard to any written agree-
ment you may like 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 positive and mistrustful enough.
So fare you well, my dear Mr. Neate.

Yours truly,
Ludwig van Beethoven.

[According to Ignaz and Moscheles' "The Life of Beethoven,"
London, 1841, vol. ii. p. 227. Charles Neate, an enthusiastic ad-
mirer of the works of Beethoven, made the acquaintance of the
composer during this year, became his personal friend, and later on
was of great service to him. Neate was born at London in 1784,
became one of the directors of the Philharmonic Society, and died
at the ripe age of 93.]

CCCCLXXIX To J. B. RUPPRECHT

[1815 ?]

With the greatest pleasure, honoured R., will I set your
poem to music, and very shortly bring it to you myself.
Whether it will be heavenly, I cannot say, since I am earthly ;
I will, however, do everything within my power to come as
near as possible to the exaggerated preconceived opinion you
have as regards myself.

Your friend and servant,

Beethoven.

[According to Frimmel (" Beethoveniana ") ; the original formerly
belonged to Alois Hauser. Rupprecht, concerning whom in con-
nection with Beethoven there are many interesting details in
Nohl's Biography (vol. iii.), was at one time censor ; Beethoven
set his poem " Merkenstein " to music]

BEETHOVENS LETTERS 389

CCCCLXXX To J. CASTELLI

[1815 ?]

My rooms are in the Pascolati house on the Schottenbastei
— 4th floor.

My dear C, please let me know when you can show me
one or other of the two promised books.

I start off already the day after to-morrow to Baden ; only
let me know whether I shall come to you or you to me, viz.,
to-morrow. I leave it to you to fix the time. If you could
manage about 12 o'clock, it would suit me best, but I leave
it entirely to you. Please send an answer.

Your devoted servant,

Ludw. van Beethoven.

[According to Frimmel ("Beethoveniana") who printed from a
carefully made copy by E. Kastner ; the original belonged formerly
to Herr Eckhart. Castelli was the well-known writer who in his
Memoirs has much to say that is interesting about Beethoven.
The books in question were probably opera libretti. (See Letter
CCXLIII and notes.)]

CCCCLXXXI To BARON VON NEFZER (! ! ?)

[1815 ?]
Dear Baron,

You promised to give me an answer about the carriage,
I earnestly beg you, if you cannot do so to-day, to send it
to-morrow to Pascolati's house on the Mölker Bastei ; my
servant will be there, and will forward it at once to me at
Baden. In case my servant, who generally has to be at
home from early morning up to noon, is not there, you have
only to give your answer to the landlord. Meanwhile you
may perhaps find something else. Forgive my importunity ;
of all my former friends not one is here, and I cannot
advise or help myself about anything. To-morrow I go to
Baden. I return on Saturday, and then I will at once call
on you.

Your most devoted,

Beethoven.
For Baron von Nefzer.

[According to Frimmel's " Beethoveniana " ; the original was
formerly in the possession of Em. Kastner, Vienna. The name of
Baron Nefzer appears for the first time in the history of Beethoven.]

390 BEETHOVENS LETTERS

CCCCLXXXII To FRAU ANNA MILDER-HAUPTMANN

in Berlin

Vienna, January 6, 1816.
My highly prized unique Milder, my dear friend !

My letter to you is a very late one. How I should have
liked to have taken part in the enthusiasm of the Berliners
which you excited in Fidelio ! I thank you a thousand times
for having remained faithful to my Fidelio. If you would
beg Baron de la Motte Fouque in my name to think of a
good opera subject., which at the same time would be suit-
able for you, this would be rendering me a great service,
and also the German stage. And I should like to write
such a work exclusively for the Berlin Theatre, for with the
niggardly direction here I shall never be able to succeed
with a new opera. Send an answer soon, as soon as possible,
very quickly, as quickly as possible, with utmost haste —
and say whether the thing is practicable. Capellmeister V.
[or W. ?] has praised you up to the skies, and he is right.
Happy may that man esteem himself whose fate depends on
your muse, your genius, your noble qualities and excellences
— and such a one am I. However it may be, every one
around you may only call himself a secondary personage.
I alone legitimately bear the honourable title of leading man
[Hauptmann], and only quite quietly, between ourselves.
Your true friend and admirer,

Beethoven.

(My poor unfortunate brother is dead — this the cause
of my long silence.)

As soon as you have sent an answer, I will also write to
Baron de la Motte Fouque. Your influence in Berlin will
surely make it easy to arrange for me to write a whole opera
for the Berlin Theatre, with a role specially written for you,
and on acceptable conditions — only answer soon, so that I
may arrange about my other scribblings.

N-f- ' ' j!__iZf=e-cJ. r i-E=

ich Küs=se sie, drükke sie an mein Hertz!

^=£=ß=m^^^m^£=

Ich der Haupt = -mann, der Hauptmann.

(Away with all other false leaders)

BEETHOVENS LETTERS 391

[According to the original manuscript discovered by the editor
of the present edition in the manuscript section of the Berlin Royal
Library. This precious relic belongs to the great group known as the
" Varnhagen-Sammlung." The musical joke at the end of the letter
was published by Thayer in his " Thematic Catalogue of the Works
of Beethoven " from Die Jahreszeiten, January 13, 1853, in an article
entitled " Eine Reliquie von Beethoven," but incorrectly reproduced.
The first who copied the letter considered the notes on both staves
to be written in the tenor clef. Moreover, the specially humorous
division of the word before a pause (see bar 2 of second stave) was
not indicated. Thayer, both in his Thematic Catalogue, also in his
Beethoven Biographie (iii. 370), gives the joke in F. major, and all
in the bass clef. This remarkable letter ought to be reproduced in
facsimile. Fidelio was given for the first time at Berlin with Frau
Schultze, nee v. Killitschky, the sister-in-law of Schuppanzigh. the
" Bohemian lady with the fine contralto voice," on October 11, 1815 ;
only then on October 14 and 17, followed the epoch-making Fidelio
performances with Milder-Hauptmann as Fidelio, and to these
reference is made in the above letter. The Vienna theatre manage-
ment is probably dubbed " niggardly " in remembrance of the story
connected with the " Romulus " opera on a poem by Fr. Treitschke.
Nothing came of the proposition re de la Motte-Fougue. Friedrich
Baron de la Motte-Fougue (1777-1843) was the poet of " Undine."]

CCCCLXXXIII To N. VON ZMESKALL

January 1816.

With terror I see only to-day that I have not answered
the proposal with regard to writing an Oratorio for the
Gesellschaft der Musikfreunde of the Austrian Imperial States.

The death of my brother two months ago whereby the
guardianship of my nephew fell to me, together with many
other unpleasant things and events, is the cause of my late
answer. Meanwhile the poem of Herr v. Seyfried is already
begun, and I shall soon set it to music. I need not say that
I regard the proposal as highly honourable for me ; that is
evident, and in so far as my weak powers permit, I will
endeavour to prove myself worthy of it ! With regard to
the artistic means for the performance, I certainly will keep
them in mind ; I hope, however, that I shall not have to
keep strictly to the already established custom in this matter.
I hope I have expressed myself intelligibly. As they will,
of course, want to know what fee I shall expect, I ask myself
whether the society will consider 400 ducats in gold at least a
suitable sum for such a work. I once again beg the society

392 BEETHOVENS LETTERS

to excuse my late answer ; meanwhile you, at any rate, dear
friend, have already declared my willingness to write this
work by word of mouth, and that to some extent sets me
at ease.

My worthy Z.,

Your B.

[According to the Fischhoff manuscript in the Royal Library,
Berlin, in which we read : " The passage with regard to the artistic
means, &c, needs explanation. H. v. Z. had been instructed to
call the attention of the gifted composer, who troubled little about
the difficulty of performing such works, to the fact that he must of
necessity take into consideration the size of the orchestra, which
at the great concerts ran up to 70 persons.

" As the Society only stipulated for the exclusive use for a year,
and not for the ownership, and in addition had undertaken to pay
the special fee for the poem, and must therefore consider what
money they had at disposal, they replied to the composer that they
were ready, for use agreed upon, to pay 200 ducats in gold. B., with-
out raising any objection, was satisfied, and according to his wish
received an advance, the receipt of which he acknowledged. B.,
however, would not work on the first poem selected, and expressed
the wish for another. The Society left him perfectly free choice.
Herr Bernard undertook to deliver a new one. B. arranged with
him about the subject, but Herr B., busy about other matters,
could only deliver it bit by bit. B. would not begin until he had
the whole before him. Meanwhile he wrote a grand Symphony
and a small Cantata for England, which in 1819 he offered to the
Society for performance, if they would grant him a second per-
formance for his benefit, which offer, however, owing to various
hindrances, could not be accepted.

" The many works which he had to attend to to maintain himself
and to educate his nephew to whom he sacrificed everything,
proved a special hindrance to his fulfilling his promise. Even in
November 1819, he told Prince Odescalchi, at that time deputy for
H. Praeses, that to deliver the work was uppermost in his thoughts.
H. Bernhard at length completed the work ; B., however, whose
health had greatly suffered, was dissatisfied with everything : he
kept on wanting the text to be altered. As late as October 1824,
the Society made a serious attempt to induce him to accept the
work, but finally abandoned hope of one of their finest wishes
ever being fulfilled." I have herewith given the whole passage
from Fischhoff, so that in all future references in the letters to this
Oratorio question, the information from this excellent source may
serve as guide. Karl Bernhard's Sieg des Kreuzes {Victory of the
Cross) was not composed.]

BEETHOVENS LETTERS 393

CCCCLXXXIV Canon from CHARLES NEATE'S Album

Composed, January 24, 1816.
Three-part Canon " REDE, REDE."

CCCCLXXXV Canon : " DAS SCHWEIGEN "

Composed, January 16, 1816.

(Text by Herder.)
Riddle Canon.

[These two Canons, published in the B. and H. critical edition,
were written by Beethoven in the album, of his young English
friend, Neate, and the composer added the words : " My dear
English countryman, both in silence and in speech bear in remem-
brance your sincere friend,

Ludwig van Beethoven.
Vienna, January 24, 1816.

CCCCLXXXVI To CHARLES NEATE

[Wien, Januar, 1816]

Mon eher ami, je vous prie de ne parier pas de ces ceuvres
que je vous donnerai pour vous et pour l'Angleterre les
raisons pour cela je vous dirai sincerement au bouche.

Votre vrai ami,

Beethoven.

J'espere de vous voir bientöt, quant a moi, je viendrai
le plus possible chez vous. Pour Monsieur de Neate.

[According to Jahn's copy ; first printed by Kalischer in his
" Neue Beethovenbriefe."]

CCCCLXXXVII To FERD. RIES in London

Vienna, January 20, 1816.

My dear Ries ! The Symphony will be dedicated

to the Empress of Russia. The pianoforte arrangement of
the Symphony in A must not, however, appear till the month
of June ; the publisher here cannot do so earlier. Dear,

394 BEETHOVENS LETTERS

good Ries, let Mr. Birchall know this at once. The Sonata
with violin, which will be sent off from here by next post,
can likewise be published in London in the month of May.
But the Trio later (that, too, will be sent by next post). The
time I will fix myself.

And now my hearty thanks, dear Ries, for all the kind-
nesses you have shown me, and especially as regards the
proof-reading. Heaven bless you, and cause you to make
continual progress, in which I take genuine interest. Kind
remembrances to your wife.
As always,

Your sincere friend,

Ludwig van Beethoven.

[According to the Biographical Notices of Wegeler and Ries.
The pianoforte transcription of the Symphony in A, was not made
by Beethoven, but only improved by him. The Violin Sonata
here mentioned was the one in G (Op. 96), completed in 1812, and
published together with the Trio in B flat (Op. 97) by Steiner and
Co. in 1816.]

CCCCLXXXVIII To N. VON ZMESKALL

January 21, 1816.
Yes ! For me also even night will suit.

[According to the original manuscript in the Vienna Court
Library. It is probably an answer to some letter received.]

CCCCLXXXIX To S. A. STEINER & CO.

January 1816.

If the corrected copy of the Sonata which I handed over
to the Adjutant of the G. 1., Tobias Haslinger, together with
another free from all faults, [: so that it may be seen that
the faults in the copper plates have been corrected :|, i.e., the
one corrected (by me) together •with another Free- from- faults,
is not in my hands by to-morrow evening between 6 and 7
o'clock, we determine as follows : The G. L. will for a time
be suspended ; its Adjutant T. H. fettered crosswise. Our
general provost diabolus diabelli will be entrusted with the
execution of the same. Only the strictest carrying out of
our above-named command can preserve them from the
already mentioned and just punishment.

The G — s (in thunder and lightning).

BEETHOVENS LETTERS 395

[According to the original manuscript in the Berlin Royal
Library.]

CCCCXC To CAJETAN GIANNATASIO DEL RIO

[January 1816 ?]
I only properly read your letter yesterday. I am ready
at any moment to give Carl to you, only I think it ought not
to be until Monday after the examination ; sooner, however,
if you think it good. Anyhow it will certainly be better
later on to send him away to Molk or elsewhere, where he
will no longer see or hear anything more of his horrible
mother ; and where everything about him is new he will
find less support, and can only win for himself love and
respect through his own courage.

In haste your,

Beethoven.

[According to the Leipzig Grenzboten in which was first published,
in 1857, the important correspondence of Beethoven with the
Giannatasios, probably by Jahn, who also appropriately added
short explanations. Thayer thought 1817 might probably be right,
but " the matter is not of importance." I, however, do not regard
the date as unimportant. I place it with Thayer at the beginning
of 1816, because here it is a question of first sending Carl to the
Giannatasio private school. And that took place in January or
February 1816.]

CCCCXCI Pour MONSIEUR DE NEATE

[January 1816]
" Mon eher compatriote et ami aujourd'hui il n'est pas
possible, de voir chez moi, mais j'espere d'avoir le plaisir de
vous voir a midi.

Aimez
votre

vrai ami,
Volti subito Beethoven.

Je m'avis que vous devez donner une academie avant
votre depart d'ici a cause de votre honneur, si vous m'avez
besoin dans ce cas, je vous sont [suis ! ?] a vos services."

[This French note is here printed from Jahn's copy, for the first
time. Thayer gave it in German (iii. 376). The " Volti subito"
is explained by the words below being on the reverse side of the
original note. Neate did not give the concert for which Beethoven
offered his services.]

396 BEETHOVENS LETTERS

CCCCXCII For the PHILHARMONIC SOCIETY in

London

Vienna, February 5, 1816.

Mr. Neate has taken of me in July 1815 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 pianoforte arrangement so soon as Mr. Neate shall
write me word that they have been performed in London ;
besides which Mr. Neate assures me that he obligingly 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.

[According to J. Moscheles ("Life of Beethoven") who describes
it as a " Manuscript Agreement as drawn up by Beethoven for the
Philharmonic Society of London, concerning the above-named
three manuscript Overtures," These were the Overtures to The
Ruins of Athens, to Konig Stephan, and zur Namensfeier, all
declined by the Philharmonic Society as " unworthy " of Beethoven.
On the title-page of the third Overture, published by Steiner in
1825, it is said to have been " gedichtet " (i.e., poetised) for Orchestra,
&c, the only work in which the composer used that word in place
of the usual one " composed."]

CCCCXCIII MONS. BIRCHALL, Londres

Vienne, le 3 Feb., 1816.

VOUS RECEUES VI (CI-) JOINT.

Le Grand Trios p. PF. V. & V11* Sonata pour PF. &
Violin — qui form le reste de ce qu il vous ä plus a me comettre.
Je vous prie de vouloir payer le some de 130 Ducats d'Holland
come le poste lettre a Mr. Th. Cutts & Co. de votre Ville et
de me croire avec toute l'estime et consideration.

Votre tres humble
Serviteur,
Louis van Beethoven.

[According to the " Jahrbücher für Musikwissenschaft," 1863.]

BEETHOVENS LETTERS 397

CCCCXCIV To FERDINAND RIES in London

Vienna, February 10, 1816.
Highly honoured Friend !

No doubt you have received my letter of the ; for

the present I only point out to you, that I now under date
the third of this [3rd of February ?] have sent the grand
Trio and the Sonata to Mr. Birchall through Messrs. Coutts
and Co., for which he has to pay to the latter, the stipulated
sum of 130 Dutch ducats. But in addition the expenses for
copying and carriage concern him ; the music was sent by
letter post merely for his sake, that he might get it quickly.
The account for these matters you will find at the end of
this letter. I earnestly beg you to use your influence, so
that Mr. Birchall pays to Messrs. Coutts and Co., the said sum
for costs in 10 Dutch ducats ; the loss of this sum would
consume a great part of my whole fee. I hope soon to find
opportunity to oblige Mr. Birchall in some other way.

I look forward to a speedy answer, and remain with
friendly feelings of respect,

Your sincere friend,
Ludwig van Beethoven.

[According to Deiters who published this letter in his article
" Be thovens Briefe au Ferdinand Ries " (1888). It is only signed
by Beethoven. Deiters remarks that " this hitherto unknown letter
is not without importance in judging questions touched upon by
Thayer" (iii. 378-9).]

[Thayer states that Birchall sent Beethoven a document to the
effect that the latter had received 130 Dutch ducats in gold for the
symphony, Trio and Sonata, and this document, as he was forwarding
the money at the same time, he expected to receive back signed.
But, adds Thayer, " In place of this document indispensable for
his security, the publisher received a new demand from Beethoven !
and indeed one for £5 in the form of an account." Beethoven
claimed " 130 Ducats d'Holland " (Letter CCCCXCIII) on February
3, 1816, and sent the receipt required (Letter CCCCXCIX), but
the date of that letter, " March 1816 " is queri d. From Letters
CCCCXCIII and CCCCXCIV Beethoven appears, as Thayer
remarks, to have made a " new demand." What further corre-
spondence re this demand took place one cannot say — the enclosed
note mentioned in above (No. CCCCXCIV), for instance, is not
forthcoming — anyhow, Mr. Birchall did finally pay the £5 (see
Letter DXXVII.)— Tr.]

398 BEETHOVEN 'S LETTERS

CCCCXCV To GIANNATASIO DEL RIO

February 15, 1816 (?).
Sir,

I announce to you with great pleasure that at last I shall
bring to you to-morrow the dear pledge entrusted to me.
For the rest I beg you once more not to allow the mother
to exercise any influence whatever. How and when she may
see him, all details I will arrange with you to-morrow. . . .
You yourself will have to give some sort of hint to your
servants, for mine, on some other occasion it is true, was
already bribed by her ! More on this matter when we meet,
although silence would be most to my liking — but for the
sake of your future citizen of the world, I have to communicate
this sad information.

With high respect,
Your most worthy servant and
friend, Beethoven.
[Written by Carl.]
I am very glad to come to you and am yours,

Carl van Beethoven.

[According to the Grenzboten (1857). The few words in Carl's
handwriting are not in the Grenzboten ; Thayer (iii. 373) quoted
them from the original manuscript.]

CCCCCXVI To BARONESS DOROTHEA VON ERTMANN

Vienna, February 23, 1816 (?).

My dear worthy Dorothea-Cäcilia !

You must often have misjudged me, seeing that I must
have appeared opposed to you ; circumstances, especially
formerly, when my behaviour was less understood than at
present, will largely account for it. You know all about the
teachings of the uncalled apostles who help themselves along
by any other means than the Gospel ; among such I have
not wished to be counted. Now please accept what was
often intended for you, and what may offer proof of my ad-
miration for your talent as an artist, and of my attachment
to you personally. That recently I could not hear you play
at Czerny's must be set down to my illness, but now I am
fairly on the road to convalescence.

BEETHOVENS LETTERS 399

I hope soon to hear from you, how matters stand at St.

Polten with , and whether you still hold in some esteem

Your admirer and friend,

L. van Beethoven.
Best regards to your worthy husband.

[According to the copy of the original manuscript among the
Schindler documents in the Royal Library. The celebrated letter
was first printed from the original in the autograph collection of
Dorothea-Cäcilia's nephew, Alfred Ritter von Frank, in Vienna. —
The A major sonata (Op. 101) was composed in 1815 ; in 1816 it was
performed in public as new, and it was published by S. A. Steiner,
in February 1817, as a sonata " für das Hammer-Klavier," and
dedicated to Dorothea von Ertmann, nee Graumann. — At Czerny's
there were for a long time Sunday performances of music, at which
Beethoven was frequently present. — General von Ertmann's
regiment was formerly quartered at St. Polten.]

CCCCXCVII To FERDINAND RIES in London

Vienna, February 28, 1816.

. . . For some time I have not been well ; my brother's
death has affected my spirits and my compositions. I am
much pained at the news of Salomon's death, as he was a
noble man whom I remember from my childhood. You
have become executor to the will, and at the same time I
have become the guardian of my poor dead brother's child.
It is hardly possible that you will have had as much trouble
as I have had through this death. Yet I have the sweet
consolation of having saved a poor innocent child from the
hands of an unworthy mother.

Farewell, dear Ries ! If I can be of any service to you
here, look upon me as your most faithful friend,

Beethoven.
[According to the " Biographical Notices." Concerning Salo-
mon's death, cf. the letter of June 1, 1815, and the explanations
given Nos. 436 and 476 of the present edition.]

CCCCXCVIII To FRANZ BRENTANO

Vienna, March 4, 1816.
Herr Franz Brentano,

Dear Sir,

I recommend to you, my worthy friend, the first wine-
artist of Europe, Herr Neberich. Even in the aesthetic

400 BEETHOVENS LETTERS

ordering of the succession of the various wine -products he is
a master, and deserves all success. I do not doubt but that
he will do you highest honour at the high council of Frankfort.
At every offering to Bacchus let him be chief priest, and no
one could send forth a better Evoe than he — I hope that
you sometimes think of me, of your friend L. van Beethoven.

[Address :]

An Seine Wohlgebohren Hn. Franz Brentano Frankfurt -
(am-Majn).

[Aid under the seal :]

N.B. The Missalion was not to be had to-day .

[According to the original manuscript in the Beethovenhaus,
Bonn ; first printed by Kalischer in the Vossische Zeitung (July 26,
1903, Sunday Supplement). This humorous letter with the rallying -
Avord of the joyous wielder of the thrysus is in itself quite intelligible.
The N.B. on the outside is the only doubtful part. " Missalion "
has two meanings : either a grand edition of the liturgj^ music
according to the Roman Catholic Ritual (Missale, Missale Romanum),
Beethoven taking the liberty of adding the Italian suffix "one"
to the Latin Missale, as sign of augmentation, i.e., a great
Missale. Or possibly Beethoven was thinking of great printing
types, the so-called " grobe Missal " (French canon), which in half
Latin, half French, he terms a " Missalion."]

CCCCXCIX To MR. BIRCHALL in London

March 1816 (?).

" Received March 1816, of Mr. Robert Birchall — Music-
seller, 133 New Bond Street, London — the sum of One Hundred
and thirty Gold Dutch Ducats, value in English Currency
Sixty-Five Pounds for all my Copyright and Interest, present
and future, vested or conti agent, or otherwise within the
United kingdom of Great Britain and Ireland in the four
following Compositions cr Pieces of Music composed or
arranged by me, viz.,

1st. A Grand Battle Sinfonia, descriptive of the Battle
and Victory at Vittoria, adapted for the Pianoforte and
dedicated to his Royal Highness the Prince Regent — 40
Ducats.

2nd. A Grand Symphony in the key of A, adapted to
the Pianoforte and dedicated to

3rd. A Grand Trio for the Pianoforte, Violon and Violon-
cello in the key of B.

BEETHOVENS LETTERS 401

4th. A Sonata for the Pianoforte with an Accompani-
ment for the Violin in the key of G, dedicated to

And, in consideration of such payment I hereby for myself,
my Executors and Administrators promise and engage to
execute a proper Assignment thereof to him, his Executors and
Administrators or Assignees at his or their Request and Costs,
as he or they shall direct. And I likewise promise and engage
as above, that none of the above shall be published in any
foreign Country, before the time and day fixed and agreed on
for such Publication between R. Birchall and myself shall
arrive.

L. van Beethoven."

[According to Jahrbücher für Wissenschaften.]

D To the Theatre Director HEINRICH SCHMIDT,

Brunn

Vienna, 11th March, 1816.
Dear Sir !

With much pleasure I have sent you the Battle Symphony
with the printed parts, together with the score ; as soon as
you have used them, kindly send them back to me. As it
will perhaps be performed here, I could not let you have the
written parts. As the title of the Battle Symphony has been
incorrectly printed, I herewith communicate it to you as it
is and as it ought to be, namely : " Eine grosse vollstimmige
Instrumental Composition, geschrieben auf Wellingtons Sieg
in der Schlacht bei Vittoria, erster Theil : Schlacht. Zweiter
Theil : Sieges Simphonie. With regard to the opera you
can, of course, have it, but for at least 125 fl. : say one hundred
and twenty-five fl. Therefore 25 fl. more than last time,
for the copyist, owing to our nice rate of exchange when
the state of our paper money stands at its highest in the
market, gets just as much again for the copying as formerly,
when the opera was offered you for 100 fl. If this is agree-
able to you, let me know at once, and you can then have
the opera in a fortnight. Kind regards to your wife, also to
Capellmeister [name illegible] * — perhaps I will pay a visit
to Brunn under different circumstances ; I wish you great
success and am,

Yours very truly,

Ludwig van Beethoven.

* Thayer writes here "Kapellmeister Strauss."
I 2C

402 BEETHOVEN'S LETTERS

V Nb. I beg you to send an answer at once about the
opera, so that you may receive it in good time.

[Outside is the address :]
To Herr Heinrich Schmidt,
Theatre Director, Brunn.

[According to a copy in Jahn's Beethoven Papers in the Royal
Library, Berlin ; first printed by Thayer (iii. 385). Whether the
Fidelio performance came off in Brunn is not known ; neither where
the original of this letter is.]

DI To ANTON HALM

Vienna, 1st April, 1816.

Most willingly, Herr Anton Halm, will I accept the dedi-
cation to me of your Sonata in C minor, even in print.

[According to Thayer (iii. 386). Concerning Halm's inter-
course with Beethoven, see Letter CCCCVI. with explanations.]

Dil To FERDINAND RIES, London

Vienna, 3rd April, 1816.

Dear Riese, Herr V. has probably received by this time
the Trio and Sonata ; in the former letters I asked an extra
10 Ducats for copying and carriage ; probably you will be
able to procure these 10 ducats for me. I always feel anxious,
because you must have laid out a considerable sum for
postage. I should be very glad if you would kindly take
in all my letters to you, and then I would reimburse you
by sending from Friess here to the Coutts house in London.
If the publisher V. should not find any difficulty, which he
is requested to let me know about at once by post, the Sonata
with violin will come out here on the 15th June, the Trio on
the 15th July ; I will let Herr V. know about the pianoforte
score of the Symphony, when it is to come out. Neate is prob-
ably in London : I have given him several of my compo-
sitions ; and he has promised to use his best interest for
me. Greetings to him from me. The Archduke Rudolph
also plays your music with me, dear Ries ! II sogno especially
pleases me. Farewell, kind regards to your dear wife, also
to all pretty young English ladies who will be glad to hear
of me.

Your true friend,

Beethoven.

BEETHOVEN'S LETTERS

403

[According to Dr. Deiters. It is not clear who the publisher
V. was ; possibly instead of V. there should be a B., and then the
name of the publisher would be Birchall. We shall soon learn
that Beethoven was anything but satisfied with Neate's attempts
to dispose of his compositions.]

Dili

Poco allegro.

To NEPOMUK HUMMEL

Uh April, 1816.

at£:

Ars lo

»ga,

Ars lo

nga,

Vi-ta

3v=S

-frp—p-

±z

bre-vis, Vi - ta bre-vis,

■II--

Ars lo

A pleasant journey dear Hummel, think sometimes of

Your friend,
Ludwig van Beethoven.
[This album leaf, according to Nohl, Neue Briefe was in 1867
in the possession of Frau Hofkapellmeister Hummel at Weimar.
Only when Beethoven was on his death-bed did the two friends
see each other again. On these same words, Beethoven nine years
later wrote a Canon for Sir George Smart.]

DIV

To N. VON ZMESKALL

Vienna, 7 th April, 1816.

The undersigned politely asks for the Weissenbach, as it
does not belong to him, and on that account he is in great
perplexity.

In haste,
Yours,

Beethoven.
[According to the original manuscript of the Vienna Court
Library ; first printed by Nohl. Dr. Aloys Weissenbach, poet of
the Cantata Der glorreiche Augenblick, is also known as the
author of the book " Meine Reise zum Wiener Kongress," a book
which the composer in any case read, though he does not appear to
have had a copy of his own.]

404 BEETHOVENS LETTERS

DV To CARL CZERNY

April{?) 1816.
Dear Cz.

Kindly give this to your parents for the recent dinner, which
I certainly cannot accept gratis. Neither do I wish to accept
your lessons gratis, even those already given shall be reckoned
and settled for. Only for the moment I beg you will be
patient, for there is nothing to be got from the widow, and
I had and still have heavy expenses ; but it is only borrowed
for the moment. The little fellow will come to you to-day,
and I later.

Your friend,

Beethoven.

[According to the original manuscript in the archives of the
Gesellschaß der Musikfreunde, Vienna ; printed several times in
newspapers, also by Nohl. Beethoven's nephew Carl began to take
lessons from Carl Czerny soon after the death of Bee'hoven's
brother.]

DVI To CARL CZERNY

April{?) 1816.
Dear Czerny !

I cannot see you to-day, I will come to you to-morrow
and have a talk with you. I burst out yesterday without
thinking, but was sorry the moment afterwards. But you
must forgive an author who would rather hear his works as
written, however finely, for the rest, you played. I will
however say something at the performance of the 'cello
Sonata to make it all right.

Be convinced that I entertain the highest good-will for
you as an artist, and I shall always strive to show it.

Your true friend,

Beethoven.

[According to Jahn's copy ; printed by Nohl. Jahn states
that this scene occurred when Czerny took many liberties in the
rendering of a Beethoven work in 1812. According to Nohl it was
probably in February 1816, but Thayer's April is the more likely
date (iii. 381). The work which caused this scene was the Quintet
in E flat for pianoforte and wind (Op. 16), in which Czerny played
the pianoforte part. J

BEETHOVENS LETTERS 405

DVII POWER OF ATTORNEY

Vienna, 2nd May, 1816.

I, trusting to his friendship, empower Herr von Kanka,
Doctor of Law of the Kingdom of Bohemia, to take the
receipt for 600 fl. Vienna value, payable at Prince Kynsky's
treasury office, according to circumstances, and to let me have
the amount as soon as he possibly can. As witness my
hand and seal.

Ludwig van Beethoven.
(L. v. B.)
Vienna, 2nd May, 1816.

[According to Nohl.]

DVIII To DR. VON KANKA

2nd May, 1816.

My most worthy, most honoured Friend !

To my letter of yesterday follows already on May 2
another. Pasqualati told me to-day, as regards a month
and six days, the Ballabene house was far too important for
such a bill, hence I must appeal to your Smallness (I do
not in the least mind making myself ever so small to be of
service to other people).

The rent of my house is 550 fl., and will be paid out of it.

As soon as the new printed piano music comes out, you will
receive copies, also one of the Battle, &c. Forgive, forgive,
my noble friend, you must think of some other means to
hurry on this affair.

In haste,
Your friend and admirer,
L. v. Beethoven.

[According to Nohl. Ballabene was a business firm in Prague.]

DIX To FERDINAND RIES in London

Vienna, 8th May, 1816.

My answer to your letter comes somewhat late ; but I
was ill, and had much to do, so that it was impossible to
answer sooner ; now only what is most necessary. Of the

406 BEETHOVENS LETTERS

10 ducats in gold I have not as yet received a single penny,
and I already begin to believe that Englishmen are only
generous when on the continent ; so also with the Prince
Regent, from whom I have not even received the copying
costs for the Battle which I sent to him, not even thanks by
writing or by word of mouth. Fries deducted 6 fl., convention
coin, from the money sent by Birchall, in addition to 15 fl.
convention coin, for carriage. Tell this to B. — and take
care you get the money order for the 10 ducats, otherwise
it will be like the first time. What you tell me about the
undertaking of Neate would be welcome to me, I want it —
my annuity amounts to 3400 fl. in paper, I pay 1100 for
house rent, and my servant and his wife cost 900 fl. ; so
reckon up and see what remains over. In addition I have
to look entirely after my little nephew ; up to now he is
in the Institution ; this comes up to 1100 fl., and at that
is not good, so that I shall have to set up proper house-
keeping so as to have him with me. What a lot one has to
earn in order to live here ; and yet there is no end to it,
for — for — for — you know what I mean.

Some orders, in addition to a concert, would be very
welcome to me. Concerning the dedication to the Phil-
harmonic Society, another time ; I hope also soon to have
news of Neate, urge him on; be assured of our sympathy
in your good fortune, and do urge Neate on to act and to
write.

For the rest, my dear pupil Ries ought to sit down and
dedicate something really good to me, whereupon the master
will answer and return like for like. How shall I send
you my portrait ? . . . Kindest regards to your wife ;
unfortunately I have none ; I found only one who will
probably never be mine ; yet on that account I am not a
woman-hater.

Your true friend,

Beethoven.

[According to Deiters.]

DX To COUNTESS ERDÖDY in Padua

Vienna, May 13, 1816.
My worthy dear friend !

You might perhaps be justified in thinking that I had
quite forgotten you, but this is so only in appearance. The
death of my brother was a cause of great grief to me, and

BEETHOVENS LETTEIIS 407

the effort to save my dear nephew from his depraved mother
was a heavy strain. 1 succeeded, but so far the best thing
I could do for him was to put him in a school, and hence
beyond my supervision. And what is a school in comparison
with the direct sympathy and care of a father for his child,
for such I now consider myself ; and I am turning over in
my mind one and another plan, as to how I can manage to
have this dear jewel closer to me, so that my influence over
him may be more rapid and advantageous — but to accom-
plish this is no easy matter. During the last six weeks my
health has been very shaky, so that I often think of death,
but without fear ; only for my poor Carl would my death
come too soon. I perceive from your last letter to me that
3 ou, my dear friend, have also been a great sufferer. It is
the fate of mortals, but even here one's power should become
manifest, i.e., to endure unconsciously and to feel one's nothing-
ness, and so attain to that perfection, of which the Almighty
through such means will deem us worthy.

Linke is probably already with you, and I hope that
by his gut-strings he will awaken joy in your heart. Brauchle
will not be disinclined to be made use of, so you can, as usual,
make constant use of him. As to Vogel, I hear you are not
satisfied with him, but why I do not know. I hear you are
looking out for another private tutor, but do not decide on
one in a hurry, and let me know v>our opinions and inten-
tions ; I may be able to give you some good information.
Perhaps you are not quite fair to the sparrow in the cage ?
I embrace your children, and express in a Terzet the hope
that they may make daily progress towards perfection. Let
me know soon, very soon, how you are on the little spot of
earth on which you live for the present. And if I do not
always show it at once outwardly, I certainly am in full
sympathy with your sorrows and also your joys. How
long shall you remain where you are, and where shall you
live in future ? There will be a change in the dedication of
the violoncello-sonatas, but this will cause no change either
in you or me.

Dear worthy Countess, in haste,

Your friend,

Beethoven.

[This letter was first published by L. Nohl in the Allegemeine
Musikalische Zeitung of December 11, 1885, from a copy belonging
to Prof. Dr. Koch, of Marpurg. Nohl states that the autograph was
formerly in the possession of the celebrated performer on the harp,

408 BEETHOVENS LETTERS

Frau Brauchle. It appears that the Countess had travelled to
Padua, without her children. The only son, Fritzi, died suddenly,
as already related, at a castle belonging to the Countess in Croatia.
The persons named in this letter are : Linke, the 'cellist ; Brauchle,
Magister ; the " bird " to be dismissed is the well-known high bailiff,
" Sperl." Beethoven speaks of a " Terzet," and the question is
whether in the spring of 1816, he wrote for the family a vocal
Terzet, or a new Trio ? Nottebohm, in his " Ein Skizzenbuch aus
dem Jahre 1815 und 1816," speaks of " sketches for the first and
third movements of an unfinished Trio in F minor for pianoforte,
violin, and 'cello." From former letters we already know that
Beethoven used the term " Terzet " for " Trio," so that the
reference may be to this F minor Trio, which he also mentions in a
later letter to Birchall (October 1816).]

DXI To COUNTESS MARIE ERDÖDY

Vienna, 15th May, 1816.

This letter* was already written, when to-day I meet
Linke, and hear of your melancholy fate in the loss of your
dear son. What consolation can I offer, nothing is more
painful than the sudden departure of those who are dear to
us ; I too, cannot forget my poor brother's death ; the
only consolation that one can think of, is that those who
quickly depart suffer less — but I feel the deepest sym-
pathy in your irreparable loss. Perhaps I have not yet told
you that I likewise have not felt well for a long time ; another
cause of my silence is my anxiety about my Carl, whom in
my mind I have often wished to be a friend of your dear son.
I feel sad both for your sake and for mine, for I loved your son.
Heaven watches over you, and will not wish to increase your
already great sorrows, even though your health may be
uncertain. Imagine that your son had been compelled to
go into battle and there, like millions, had found his death ;
besides, you are still mother of two dear hopeful children. I
hope soon to have news of you, I weep with you. For the
rest pay no attention to all the gossip about my not having
written to you ; not even to Linke, who certainly is devoted
to you, but is inclined to gossip — and I think that between
you, my dear Countess, and myself, no go-between is wanted.
In haste, with respect,

Your friend,

Beethoven.

* i e., the one of May 13.

BEETHOVENS LETTERS 409

[According to Jahn's copy ; first printed by Dr. A. Schöne.
This letter of consolation refers to the death of the only son of the
Countess. At the family estate in Croatia he was taken ill one
morning, complained of his head, and with a cry of grief fell dead
at his sister's feet.]

DXII To CHARLES NEATE in London

" Vienne, le 15 May, 1816.
" (Adresse Sailerstadt Nr. 1055 et 1056 au 3eme etage.)

" MON TRES CHER AMI !

L'amitie de vous envers moi me pardonnerä touts le
fauts contre 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 ä donne ma Sinfonie A ft ;
c'est une grande satisfaction pour moi, mais je souhais bien
d'avoir de vous meme des nouvelles, que vous ferez avec
touts 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 m.6fis un peu, quand je pense que le Prince regent
d'angleterre ne me dignoit pas ni d'une reponse ni d'une
autre reconnoissance pour la Bataile que j'ai envoye a son
Altesse, et lequelle on a donne si souvent a Londres, et
seulement les gazettes annoncoient le reussir de cet ceuvre
et rien d'autre chose — comme j'ai deja ecrit une lettre an-
glaise a vous mon tres eher ami, je trouve bien de finir, je
vous ai ici depeignee ma situation fatal ici, pour attendre
tout ce 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'expliquer.

J'espere done eher ami bientöt une lettre de vous, ou
j'espere de trouver de nouvelles de votre sante et aussi de
ce que vous avez fait a Londres pour moi — adieu done,
quant ä moi je suis et serai tou jours votre

vrai ami,
Beethoven."

[From the " Life of Beethoven," by J. Moscheles, who adds :
" The reader will perceive that I have given this letter without

410 BEETHOVENS LETTERS

attempting to correct its orthography, conceiving it to be one of
those cases where the original imperfection rather adds to than
diminishes the interest of the document." Very true, and we must
also not forget that Beethoven wrote this letter without the help
of a dictionary.]

DXIII To MR. CH. NEATE in London

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.

Concerning 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 advantage 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 maintaining 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 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 up 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.

BEETHOVENS LETTERS 411

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 expectation of your speedy answer, my dear friend and
countryman, I am yours truly,

Ludwig van Beethoven.

[According to J. Moscheles ("Life of Beethoven") who first
published it ; Beethoven only signed it. Neate was not fortunate
in his efforts to serve Beethoven. But we shall hear more about
the matter.]

[The following letter from Moscheles' " Life of Beethoven,"
vol. ii. p. 240, will be read with interest. — Tr.]

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 when I was 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 passage
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 esteem, 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 unfavourable 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
publicly, 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 on condition that they made
you a very handsome present ; 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

412 BEETHOVENS LETTERS

music should be put up by auction 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 disapproval of your works. I was the more ap-
prehensive 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 difficult, and said they would not be
saleable, and consequently made offers such as I could not accept,
but when I shall have played them to a few professors, their re-
putation will naturally be increased by their merits, and I hope to
have better offers. The Symphony you read of in the Morning
Chronicle I believe to be the one in C minor ; it certainly was not
the one in A, for it has not been played at a conoert. I shall insist
upon its being played next season, and most probably the first
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 un-
favourably 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 Avill confirm this. I am sorry you say that I did not even
acknowledge 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.

DXIV To FERDINAND RIES in London

Vienna, 11th June, 1816.

My dear R. !— I am sorry that you have had to pay
postage money again for me ; however willingly I help and
serve all men, it pains me to be compelled to have to encroach
upon other people's kindness. Of the 10 ducats up to now
nothing has come, and I therefore conclude that in England,
as with us here, there are braggers and men who do not keep
their word. In this I do not accuse you, nevertheless I
must beg you once again to see Mr. Bishall about the 10
ducats, and to get them given to you. I assure you on my

BEETHOVENS LETTERS 413

honour that I have paid for costs 21 fl. in convention coin,
without counting the copyist and several postal expenses.
The money was not even notified to me in ducats, although
you yourself wrote to me that I should receive it in Dutch
ducats. So there are in England such unconscientious men
to whom keeping their word is of no moment ! ! ! Concerning
the Trio, the publisher here has approached me, so I beg you
kindly to speak to Mr. B. so that this may appear in London
by the end of August. He can get ready with the pianoforte
score of the Symphony in A, since as soon as the publisher
here fixes the day, I will at once inform you or B. As I have
not received a syllable from Neate since his arrival in London,
I now beg you to tell him to give you an answer whether he has
already disposed of the Quartet in F minor, for I should like
to bring it out here at once, also ask what I have to expect
with regard to the 'cello Sonatas. Of all the other works
which I gave to him I am almost ashamed to speak, and
indeed for my own sake without any conditions, as I trusted
entirely to him as a friend. The notice in the Morning
Chronicle concerning the performance of the Symphony
has been given me to read. Probably the same fate awaits
this and all the other works which Neate took with him ;
as with the Battle, so with the latter, I shall probably
not receive anything more than a notice in the papers about
the performances. The pianoforte edition of the Symphony
in A was quickly copied, and after careful revision I made
certain changes which I will send to you. Kind regards to
your wife.

In haste your true friend,

Beethoven.

[According to the original manuscript in the possession of the
composer Franz Ries in Berlin, See my explanations to this letter
in my reprint of the " Biographical Notices." On the second page
of the autograph, at the side, is written, " Have you dedicated
your Concerto in E flat to the Archduke ? Why have you not
written yourself to him about it.? " Ries omits these words.]

DXV To the ARCHDUKE RUDOLPH

Vienna, 11th July, 1816.
Your Imperial Highness !

I venture to hope from your graciousness towards me,
that you will not put any bad construction on the enclosed

414 BEETHOVENS LETTERS

dedication somewhat rashly granted (it was done only for
the sake of surprise). The work was written for Y.I.H., or
rather it has to thank you for its existence, and was the
world (the musical) to know nothing of this ? I shall soon
have the pleasure of waiting on Y.I.H. in Baden. In spite
of all the efforts of my doctor, my chest complaint will not
disappear ; I however feel better, and hope only to hear
what is good and profitable concerning the state of your
health which causes us anxiety.

Your Imperial Highness's faithful
and most obedient servant,
Ludwig van Beethoven.
Vienna, 11th July, 1816.

[According to the original manuscript in the archives of the
Gesellschaß der Musikfreunde at Vienna ; first printed by von
Koechel. The dedication concerns the Sonata in G (Op. 96),
which although composed and performed a long time before, was
first published in this year by S. A. Steiner.]

DXVI To MR. BIRCHALL in London

Vienne, 22 Juilliet, 1816.
Monsieur,

J'ai recu la declaration de proprite des mes (Euvres
entierement cede a Vous pour y adjoindre ma Signature.
Je suis tout a fait disposer a seconder vos vceux si tot, que
cette affaire sera entierement en ordre, en egard de la petite
somme de 10 louis d'or le quelle me vient encore pour le fieux
de la Copieture de poste de lettre comme j'avois l'honneur de
vous expliquier dans une note detaille sur ses objectes. Je
vous invite done Monsieur de bien vouloir me remettre ces
petits object, pour me mettre dans Fetat de pouvoir Vous
envoyer le Document susdit. Agrees Monsieur l'assurance
de l'estime la plus parfait avec la quelle j'ai l'honneur de
me dire

Louis van Beethoven.

Copying £l 105. Od.

Postage to Amsterdam £10*. Od.

Trio £2 10s. Od.

£5 0s. Od.

[According to the Jahrbucher für Wissenschaft, 1863.]

BEETHOVENS LETTERS 415

DXVII To GIANNATASIO

[July 28, 1816]
Worthy Friend !

Various circumstances induce me to take Carl to live
with me ; and this being so, allow me to send you the amount
for the approaching quarter, at the end of which Carl will
leave you. Do not ascribe this to anything detrimental
to yourself or to your honoured institution, but to pressing
reasons for Carl's welfare. It is an experiment, and as soon
as it is started, I would beg you yourself to assist me with
your advice, and more than that, to allow Carl to pay an occa-
sional visit to your institution. We shall be eternally thankful
to you ; never indeed shall we forget the care you took, nor
the excellent care taken by your worthy wife, which can only be
compared to that of an excellent mother. If my circumstances
permitted I would send you at least four times the amount I am
now paying ; meanwhile in a better future I will seize every
opportunity to honour and, in special manner, to call to
remembrance the foundation you laid for the physical and
moral welfare of Carl. With regard to the Queen of Night,
things will go on as before, and even if Carl should undergo
his operation at your house, seeing that he will be poorly
for a time, hence more sensitive and excitable, she must not
be allowed to see him ; all the less, seeing Carl might
easily recall former impressions, a thing we can't allow.
How far we may count on any improvement in her may be
seen from the stupid scrawl. My sole object in showing it
to you, is that you may see how right I was to adhere to
the course adopted concerning her. Meanwhile I have not
treated her this time like a Sarastro, but answered her like
a Sultan. Should, though I would willingly spare you if
I could, Carl's operation take place at your house, I beg you
to tell me what anxiety and extra expense is caused thereby,
I will repay you everything and with best thanks. And
now farewell ; all kind messages to your dear children and
to your excellent wife, to whose further care I now commend
my Carl. I leave Vienna at 5 o'clock to-morrow morning,
but shall often come into town from Baden. As always,
with esteem.

[According to the Grenzboten of 1857. The nephew had to
undergo an operation for rupture. Beethoven speaks in far more
favourable terms of the institution in his letter of May 8, 1816.]

416 BEETHOVENS LETTERS

DXVIII To N. v. ZMESKALL

Baden, September 5, 1816.
Worthy Z.,

I do not know whether you received a note recently
placed at your door-sill ; I was in too much of a hurry to
be able to see you. I must therefore repeat my request
concerning a new servant, as I cannot bear any longer with
the present one on account of his behaviour. He came to
me on the 25th of April, so on the 25th of September he will
have been with me five months. I gave him fifty florins in
advance. His boot money will be reckoned to him from the
third month he has been in my service, and from that period
up to the end of the year, at 40 fl. livery, likewise from the
third month. As from the very first I was not inclined to
keep him, I wished I could have got back my fifty florins,
but I kept on, undecided as to what I should do. Mean-
while, if I could have a new servant, I would dismiss the
present one on the 25th of this month, pay the new one
20 fl. for boot money and 5 fl. a month for livery (both
reckoned from the third month) in my service, which together
make 35 florins ; I should still want to get back fifteen
florins, but this can't be helped ; anyhow, I get a fair share
back of my fifty florins. If you find a suitable person, he
will receive 2 florins per day here in Baden, and if he knows
something about cooking, he can cook for himself in the
kitchen with my wood (I have a kitchen but without any
cooking done for me) ; if, however, he can't cook I would
even give him a little extra. In Vienna, as soon as I am
settled there, he will have 40 florins per month, and the
rest — livery, boot-money, &c. — reckoned to him from the
third month after he has been in my service, as with other
servants. If he can do a bit of tailoring, it would be a
good thing. Here you have once again my request. I beg
for an answer at latest by the 10th of this month, so that
on the 12th I may be able to give my servant the usual
fortnight's notice. — Otherwise I shall have to keep him
another month, and yet I would be glad to lose him at any
moment. With regard to the new one, you already know
pretty well what will suit me : his behaviour must be good
and orderly, he must have good recommendations, be married,
and not murderously inclined, so that I may feel my life is
safe ; for in spite of various scamps loafing about, I should
like to live a little longer.

BEETHOVENS LETTERS 417

So I expect to hear from you by the 10th of this month
about the servant business. If you are not offended, I will
send you shortly my thoroughly worked-out treatise on the
four violoncello strings. The first chapter deals with the
strings generally — chapter 2 with the cat-gut strings, &c. — I
need no longer warn you ; beware of wounds received in
certain fortresses. Deep quiet rests over everything ! !
Farewell, dear little Zmeskall, I am, as ever,

Un povero Musico,

and your friend,

Beethoven.

N.B. — The servant affair may only last a few months, as,
on account of my nephew Carl, I must have a proper house-
keeper.

[According to the original manuscript in the Vienna Court Library.
This " servant " letter shows with terrible clearness how much the
composer suffered, and, owing to his temperament, was bound to
suffer under the thraldom of servants. For the sake of his nephew
the composer was forced to seriously think of setting up house on
a complete scale. And how seriously Beethoven studied the matter
may be seen from a memorandum " for setting up housekeeping "
belonging to this period, which was preserved by Schindler.]

DXIX To STEINER & CO.

Baden, 6th September, 1816.

The enclosed open letter is to Dr. Kanka in Prague,
wherein however the greatest silence is ordered with regard
all its contents, and especially by Baron P [?] (A good exercise
for persons of so exalted a rank as general). The general staff
is requested to send by to-morrow's post ; the receipt already
lying in Vienna must be added, but both enclosed in a wrapper.
How stands it with the Trio ? I beg you soon to see about
it for me, as I remain here for a time ; so I beg you to let
me know. As soon as it is ready send a copy from Vienna
to the Archduke. Has Baron Pasqualati already gone to
Milan, an answer about this is requested. News from the
general staff is expected soon. Kind regards to you, and
from you in return.

[According to Jahn's copy ; first printed by Thayer (iii. 496).
" Br. P." probably stands for Baron Pasqualati. The Trio in question
is the one in B flat, which was dedicated to the Archduke, and
appeared at Steiner's in 1816.]

I 2D

418 BEETHOVENS LETTERS

DXX To the Lawyer DR. VON KANKA in Prague

Baden, 6th September, 1816.
Most worthy K. !

I sent to you, as desired, the receipt, and I beg you
kindly to see to it for me, so that I may really receive
the money before the 1st October, and indeed without de-
duction, which hitherto has always happened. Also I beg
you certainly not to send the money order to Baron Pasqualati
(I will tell you why by word of mouth ! ! for the present let
this be between us), either to me or to some one else, only
not to Baron P. For the future it would be best, as the
rent is paid here for the great Kinsky house, to have mine
also paid here.

Now this is j ust what I think. The said Terzet soon appears
in print, which is always to be preferred to all written music.
You will therefore receive a printed copy, together with
some other ill-bred children of mine. I beg you meanwhile
only to look at the really good in them, and to overlook
chance weaknesses in these poor innocent ones. I am, for
the rest, full of anxiety, for I am the real father of my dead
brother's child, and, in regard to this, I might well have
written the second part of the Magic Flute, seeing that I
have to deal with a Queen of Night.

I kiss and press you to my heart and hope soon that I
shall so far distinguish myself as to make you feel somewhat
thankful to my Muse. My dear worthy Kanka,

Your deeply admiring friend,

Beethoven.

[According to Nohl. All these last letters dedicated to his
lawyer friend at Prague are concerned with the law-suit against the
Kinsky house. The " said Terzet " is the last Trio in B flat, dedi-
cated to the Archduke, which was published by Steiner in 1816.
The " Queen of Night " is the sister-in-law, Johanna van Beethoven.]

DXXI To the Nephew, CARL VON BEETHOVEN

September 1816.
My dear C,

According to the orders of v. Smettana, you must take
some baths before the operation. To-day the weather is
favourable, and it is exactly the right time. I shall be
waiting for you at the Stubenthor.

BEETHOVEN'S LETTERS 419

Of course you will first ask Herr v. G.'s permission. Put on
drawers, or take them with you so that you can put them on
when you come out of the bath, in case the weather should
again become cooler. // the tailor has not yet been to you, when
he comes let him also take your measure for linen drawers.
You need them. If Frau v. G. knows where he lives, my
servant can tell him to go to you. My [son] farewell ; I am,
and indeed through you,

Your breeches button,

L. v. Beethoven.

[According to Nohl ("Neue Briefe," p. 112). The letter was
formerly (1867) in the possession of Frl. Anna Assmayr, of Vienna,
in September 1816, the nephew Carl, who had suffered from a
rupture, was successfully operated on by the here-named Dr.
Smettana in the institution of H. Giannatasio. Most touching is
Beethoven's motherly care for the tender, beloved son. This is
probably the first letter we possess from the master to his nephew.
Characteristic is the term he applies to himself : " Breeches' button "
was a nickname he gave to his youthful friend, Gerhard v. Breuning.

DXXII To GIANNATASIO DEL RIO

Sunday, 22nd September, 1816.

Certain things cannot be expressed in words ; when I
received news from you with regard to Carl's successful
operation, especially my feeling of thankfulness. You spare
me here words or rather stammering. You would, however,
surely not say anything against what my feelings would will-
ingly express to you, therefore silence. You may well imagine
that I wish to hear how my dear son is going on, and do not
forget to tell me exactly your house so that I may write
directly to you. Since you went away from here, I have
written to Bernhardt to inquire at your place, but I have
received no answer. You must really look upon me as a
half careless barbarian, since Herr B., probably, did not go to
you, just as he did not write to me. Any anxiety about your
excellent wife's nursing, quite impossible. You will readily
understand that I was deeply sorry not to be able in person to
show my sympathy with regard to the suffering caused to my
Carl ; and I at any rate wish to hear frequently how he is
going on. As I have given up so unfeeling, so unsympathetic
a friend as Herr B[ernard], I must claim your friendship
and kindness in this matter. I hope soon to have a line

420 BEETHOVENS LETTERS

from you, and with all kind remembrances and a thousand
thanks to your worthy wife,

I am, in haste, yours,

L. v. Beethoven.
To Smetana (the physician) please express my admiration
and high esteem.

[According to the Grenzboten. This exaggerated letter of thanks
to the Principal of the Giannatasio Institute and family concerns
the operation which had been successfully performed on his nephew.
Friend Carl Bernard, the poet, appeared not to have shown a right
appreciation of the master's fatherly anxiety.]

DXXIII To DR. FRANZ WEGELER

Vienna, 29th September, 1816.

I seize the opportunity, through J. Simrock, to remind
you of myself. I hope you have received my engraved
portrait * and also the Bohemian glass. When I again
wander through Bohemia, you will again receive something
of the same kind. Farewell, you are a man, a father ; I
also, though without a wife. Greet all yours — ours. Your
friend L. v. Beethoven.

[According to the Biographical Notices, reprint by Kalischer,
in which Wegeler's excellent explanations are given.]

DXXIV To ANTONIA BRENTANO

Vienna, 29th September, 1816.
My honoured Friend,

I recommend to you the son of Herr Simrock of Bonn,
whose acquaintance I made here ; he will be able to relate
to you many things about my present condition, that is
about a part of Austria your native country. I hear that
you are well, that F. [Franz], to whom all greetings, has
become a senator, and instead of growing older is always
growing younger. F. is politely begged to assist Herr Simrock
in case the latter has any payments to make to me here, and
to tell him the cheapest way in which they could be forwarded.

* Drawn by Letronne and engraved by Hoefel. 1814. Underneath stands :
"To my friend Wegeler. Vienna, 27th March, 1815. Ludw. van Beethoven. —
Our common friend, Herr Eichhoff, General Director of the Rhine Cus om-house,
brought it to me from the Congress."

BEETHOVENS LETTERS 421

F. is also, as I hear, one of the heads, or one of the supports
of the ancient city of Frankfort, and we heartily congratulate
him thereupon. You will have heard that I have become
a father, and that I have real fatherly cares. My nephew
had a rupture, and has recently been operated upon, and
indeed most successfully — otherwise I cannot write to you
anything of importance from here, only that our Government
is becoming in more and more need of being governed ; also
that we believe we have by no means got to the worst. I
greet you all heartily and desire you to keep me in pleasant
remembrance.

In haste your friend,

Beethoven.
[Address :]

To Frau von Antonia Brentano nee von Birkenstock,
in Frankfort.

[According to the original manuscript in the Beethoven Haus
at Bonn ; first printed by the present editor. On the back of the
cover of this letter of recommendation is written : " Fuger — Jean
Paul is equal to Beethoven (handwriting of Antonia Brentano,
nee von Birkenstock. Sat. [Senator ?] Brentano)." Perhaps it
was intended here, as indeed had often been done, in former days, to
draw a parallel between the humorist Beethoven and the humorist
Jean Paul. The J. Simrock here recommended, who was for a
time in 1816 in Vienna, was the son of a friend of Beethoven's
youth, the horn player Nicolaus Simrock, who founded in Bonn
the music business now in Berlin. With regard to Beethoven's
remark about the Austrian Government, the composer, in spite of
his hyper-loyal speeches with regard to his dear Archduke, was
still at heart a republican.]

DXXV To N. VON ZMESKALL

30th September, 1816.

Dear Z. ! I have a servant who goes into other people's
rooms with false keys, so the matter must be at once looked
after. By the 25th of this month such a man must come
to me. Yes, indeed, if it were only possible to have another
one, I would send the present one about his business at once.
I will try to speak to you this afternoon after 3 o'clock or
about 4.

In haste,

Your friend,

Beethoven.

422 BEETHOVENS LETTERS

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl.]

DXXVI To BARON JOHANN VON PASQUALATI

[Autumn 1816 ?]
Worthy honoured Friend,

If this does not find you at home, I very much beg
you to be kind enough to give to Rampel, the copyist, my
quartet in F minor, or leave it so that he himself may copy
it. I will let you know by word of mouth for what purpose.

In haste,

Yours most sincerely,

Beethoven.
For Herr Baron von Pasqualati.

[According to the original manuscript which I saw some years
ago at L. Liepmannssohn's (proprietor, H. Haas), after the letter
itself had been published by me from Jahn's copy. The quartet
named is the one in F minor (Op. 95).]

DXXVII MR. BIRCHALL, Music-seller, London.

Vienna, 1 Oct. 1816.
My dear Sir,

I have duly received the £5 and thought previously you
would not increase the number of Englishmen neglecting
their word and honour, as I had the misfortune of meeting
with two of this sort. In reply to the other topics of your
favor, I have no objection to write variations according to
your plan, and I hope you will not find £30 too much. The
Accompaniment will be a Flute or Violon or a Violoncello ;
you'll either decide it when you send me the approbation of
the price, or you'll leave it to me. I expect to receive the
songs or poetry — the sooner the better, and you'll favour me
also with the probable number of Works of Variations you
are inclined to receive of me. The Sonata. in G with the
accompam of a Violin is dedicated to his Imperial Highness
Archduke Rudolph of Austria — it is Opa 96. The Trio in
Bb is dedicated to the same and is Op. 97. The Piano
arrangement of the Symphony in A is dedicated to the
Empress of the Russians — meaning the Wife of the Empr-
Alexander — Op. 98.

Concerning the expenses of copying and packing it is
not possible to fix him before hand, they are at any rate not

BEETHOVENS LETTERS 423

considerable, and you'll please to consider that you have to
deal with a man of honour, who will not charge one 6d. more
than he is charged for himself. Messrs. Fries and Co. will
account with Messrs. Coutts and Co. The postage may be
lessened as I have been told. I offer you of my Works the
following new ones. A Grand Sonata for the Pianoforte
alone £40. A Trio for the Piano with accomp' of Violin
and Violoncell for £50. It is possible that somebody will
offer you other works of mine to purchase, for ex. the score
of the Grand Symphony in A. With regard to the arrange-
ment of this Symphony for the Piano I beg you not to forget
that you are not to publish it until I have appointed the
day of its publication here in Vienna. This cannot be other-
wise without making myself guilty of a dishonorable act —
but the Sonate with the Violin and the Trio in B fl. may be
published without any delay.

With all the new works, which you will have of me or
which I offer you, it rests with you to name the day of their
publication at your own choice : I entreat you to honor me
as soon as possible with an answer having many orders for
compositions and that you may not be delayed. My address
or direction is

Monsieur Louis van Beethoven,
No. 1055 & 1056 Sailerstette 3d. Stock. Vienna.

You may send your letter, if you please, direct to your

most humble servant,
(Mr. Birchall Ludwig van Beethoven.

Music Seller
No. 133 New
Bond Street,
London.)

[According to the Jahrbucher für Musikwissenschaft. The
contents are clear ; harmony appears to be restored between
Birchall and the composer. The opus number 93 for the pianoforte
score of the A major symphony is extraordinary. The new Trio
offered for £50 recalls the mentioned sketches of the year 1815 or
1816, among which there are sketches of a Trio in F minor. (See
Nottebohm, " Zweite Beethoveniana," Article XXXV.)]

DXXVIII To N. V. ZMESKALL

Dear Z.,

Anyhow I cannot commend your non-recommendation
of the servants I have taken — I beg you at once to send by

424 BEETHOVEN'S LETTERS

Herr Schlemmer the papers, testimonials, &c., which you
have from them. I have grounds for strong suspicion of
their having robbed you. Since the 14th of last month
I have been constantly ill, and obliged to keep in my room
and in bed — all plans concerning my nephew are upset
through these wretched people. As always, your,

L. v. Beethoven.

[According to the original manuscript in the Vienna Court
Library. Schlemmer was for many years Beethoven's copyist,
before Rampel.]

DXXIX To the ARCHDUKE RUDOLF

Your Imperial Highness !

I heard yesterday, and the meeting with Count Troyer
confirmed it, that Y.I.H. is again here. I herewith forward
the dedication of the Trio to Y.I.H. ; it is on this one, but
all works on which it is not indicated, if only they are of a
certain value, are intended for you. For the rest do not
think that in this I have any design. But as great lords are
accustomed to suspect self-interest of some kind in such
matters, I also this time will let it appear so, for I have
soon a favour to ask of Y.I.H., the just cause of which you
will probably perceive, and most graciously grant me the
same. Since the beginning of last month, October, I already
began in Baden to feel unwell, but since October 5, I left
neither my room nor my bed, until about a week ago. I had
a somewhat dangerous cold ; and I still dare not venture out
much ; this also is the cause of my not writing to Y.I.H.
when in Kremsir. I wish you everything Heaven can send
you in the way of blessing.

Your Imperial Highness's
most obedient servant,

Ludwig van Beethoven.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna. Of Count Troyer, friend of
the Archduke's, who is probably referred to here, see Letter CCCLXIII
to the Archduke. The Trio in B flat (Op. 97) with the dedication
to the Archduke was published by Steiner during the summer of
1816. This time Beethoven has a favour to ask of his pupil. The
following notice in the diary of this period probably refers to it :
" To speak to Staudenheimer, about B. Must hurry on with the

BEETHOVENS LETTERS 425

Trio to H.l.H. for the 400 fl., everything as quickly as possible— -in
case of emergency he will advance money." (Fischhoff manuscript,
sheet 37a). Beethoven now wished — in spite of Dr. Smettana — to
consult the physician Staudenheimer.]

DXXX To GIANNATASIO DEL RIO

[Probably October or November 1816]
Worthy Friend!

My housekeeping is almost a shipwreck, or inclined to it.
You know with this house I am swindled by a would-be
somebody ; and in addition my health does not seem dis-
posed to get restored quickly. In these conditions to take
a tutor, whose inner and outer life one does not know, and
to leave to chance the training of Carl, that I can never do,
however great the sacrifice to which I am thereby exposed.
I therefore beg you, from the 9th inst. to keep Carl with you
again for this quarter. I accept your proposal with regard
to the cultivation of music thus far, that Carl should leave
you twice, even three times a week, of an evening about
six o'clock and remain with me till the following morning,
when he can return to your house about 8 o'clock. Every
day would be too much of a strain for Carl, even for me also,
since it must always be at the same time, too fatiguing and
too much of a tie. During the present quarter we will have
a further talk and discuss what is best for Carl, when he,
and also I myself can be taken into consideration. Owing
to the times which are ever worse, I am sorry to have to say
this. Had only your house in the garden been suitable for
my state of health, all would have been plain sailing. With
regard to what I owe you for the present quarter, I must
ask you to trouble to come to me so that I may discharge it,
as the bearer of this is, by God's grace, fortunate enough to
be somewhat stupid ; so far as he is concerned one can allow
him this, if only other persons are not affected thereby. As
regards the extra expenses connected directly or indirectly
with Carl's illness, I must ask for a few days' grace, for just
now I have many things to settle — I should also like to know
how I stand with regard to Smettana about the operation
which he so successfully performed, and about his fee.
If I were rich, or not in the position in which all (Austrian
usurers excepted) whose fate is fettered to this land, I would
not even ask. I only want to know the likely amount.

426 BEETHOVEN'S LETTERS

Farewell, I heartily embrace you, and will always look
upon you as a friend of my Carl.

With esteem,
Your

L. van Beethoven.
[According to the Grenzboten, 1837.]

DXXXI To N. VON ZMESKALL

[5th December 1816]
My dear young Court Councillor !

I beg you to return to me the three copies of my Battle
of Vittoria, leave B. K. alone, I hope there is still time before
we are lowered into the grave.

Tell me where the best barometers can be had, and what
the price of one would be.
I shall soon see you again.

As always,
Your friend,

Beethoven.

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl. According to his supposition, the
" B. K." may stand for " Baron v. Knifft." Zmeskall is addressed
as " Young Court Councillor," so he may just have received that
title.]

DXXXII To MR. BIRCHALL, London

1055 Sailer stette,
Vienna, 14 December, 1816.
Dear Sir,

I give you my word of honor that I have signed and
delivered the receipt to the home Fries and Co. some day last
August, who as they say have transmitted it to Messrs.
Coutts and Co. where you'll have the goodness to apply. Some
error might have taken place that instead of Messrs. C.
sending it to you they have been directed to keep it till
fetched. Excuse this irregularity, but it is not my fault,
nor had I ever the idea of witholding it from the circumstance
of the £5 not being included. Should the receipt not come
forth at Messrs. C. I am ready to sign any other, and you
shall have it directly with return of post.

If you find Variations — in my style — too dear at £30,

BEETHOVEN 'S LETTERS 427

I will abate for the sake of your friendship one third — and
you have the offer of such Variations as fixed in our former
lettres for £20 each Air.

Please to publish the Symphony in A immediately — as
well as the Sonata — and the Trio they being ready here.
The Grand Opera Fidelio is my work. The arrangement for
the Pianoforte has been published here under my care, but
the score of the Opera itself is not yet published. I have
given a copy of the score to Mr. Neate under the seal of
friendship and whom I shall direct to treat for my account
in case an offer should present.

I anxiously hope your health is improving, give me
leave to subscribe myself,

Dear Sir,

your very obedient Serv'.,
Ludwig van Beethoven.

[According to the Jahrbücher für Musikwissenschaft, from which
we learn that " owing to Birchall's illness, negotiations came to a
standstill."]

DXXXIII To N. VON ZMESKALL

lQth December, 1816.
Here, dear Z.,

Accept my friendly dedication as I wish, namely, as an
affectionate remembrance of our long-standing friendship,
and as a proof of my esteem, and not as the end of a long-
spun-out thread (for you were one of my earliest friends in
Vienna). Farewell, keep from the rotten fortresses ; an attack
does more harm to them than to well-kept ones.

As always,

Your friend,

Beethoven.
N.B. If you have a moment to spare, I beg you to tell
me the highest one ought to reckon now for a livery (without
cloak), washing, together with hat and boot money. Wonder-
ful changes have taken place at my house. The man, thank
God, has gone to the devil, and the woman seems on that
account more determined to stick here.

[According to the original manuscript in the Vienna Court
Library ; first printed by Nohl. The Quartet in F Minor (Op. 9)
dedicated to his trusty friend Zmeskall, appeared in December
1816 at Steiner's. The friendship remained firm to the end of
Beethoven's life, a praiseworthy testimonial for both.]

428 BEETHOVENS LETTERS

DXXXIV To SIR GEORGE SMART in London

Vienna, December 16, 1816.

1055 Sailerstätte, 3rd floor.
My worthy Sir,

You favour me with so much praise and so many marks
of honour that you make me blush ; I confess, however,
that these are in the highest degree flattering to me, and I
heartily thank you for the interest you have taken in my
business affairs. These got somewhat in arrears through the
strange situation in which our lost but fortunately found
again Mr. Neate became involved. Your friendly letter of
October 31 explains many things, and in a certain way to
my satisfaction. I take the liberty of enclosing an answer
to Mr. Neate, from whom I likewise received a letter, and
beg of you kindly to support him in all the steps he has
taken in my favour.

You say that the cantata will be useful with regard
to your plan concerning the oratorios ; I therefore ask you,
whether you find £50 too high a price for the same ? Up
to now it has not brought me any profit ; nevertheless,
I should not like to ask a price which would result to you in
a loss. Let us therefore say £40, and if it should prove an
important success, then I hope you will have no objection
to ^ add the £10, so as to complete the first-mentioned sum.
You will have the right of publication, and I will only stipu-
late that I may publish it here at a time which you will
be kind enough to fix yourself, and not before. I have
communicated to Mr. Häring your friendly opinions, and
he unites with me in expressions of the highest esteem in
which he has always held you.

Mr. Neate can have the various works with exception
of the Cantata, when you have received them. And I hope
that with your help it will be in his power to do something
for me, which, considering my illness and the state of Austrian
finance, would be most welcome.
Allow me to sign myself,

With the highest esteem and warmest friendship,
Ludwig van Beethoven.

[According to Thayer (iii. 415), this letter was dictated to friend
Häring, who wrote it down in English. Beethoven speaks in terms
of praise of Mr. Neate, " fortunately found again." Among the
documents in Schindler's " Beethovennachlass," there is one from

BEETHOVENS LETTERS 429

Neate which will make clear what Beethoven meant. This letter
exists only in a German version : it is dated London, October 29,
1816, and commences with Neate's confession of guilt. He recog-
nises that he is to blame, but when he wrote the first letter he was
troubled in mind — he finds himself accused by the man whom he
most admires and esteems, to whom he is deeply indebted, and whose
happiness he will never cease to promote to the best of his powers.
" Until the question was decided whether my wife (whom I married
on the 2nd of October) should be maintained by her family, I did
not venture to appear as an artist. Now I remain a musician. Also,
I would not allow any one else to act for you out of fear lest things
should not turn out as they ought. / acknowledge that I have not
kept good faith with you, and in that I have acted wrongly, but I have
neglected every one — everything, and even myself. All your music
remained in my trunk. But formerly I had the direction of the
Philharmonic Society, of which I have again been appointed director
this year. A meeting was held, and I offered all your music, if they
would pay the price which I thought it deserved. They replied
that one after the other should be rehearsed, for unfortunately the
overtures had not pleased — and that then a sum would be offered.
I opposed the idea of holding a kind of auction on your works, and
left the meeting. My decision was to give a concert for your benefit
and myself to take all risk. You know the cause why this fell
through. But as director I will make my influence felt this year.
Since then I have offered your sonatas to a publisher ; he said they
were too difficult, and that he could not offer anything likely to be
accepted. I will now play them, and when they are better known
among artists, a better offer will be forthcoming. Money is very
tight here, and the times are unusually wretched. The symphony
you read about in the Morning Chronicle was, I believe, the one in
C minor — the one in A has not as yet been produced. I shall insist
on its being given this season — perhaps at the very first concert.
I am glad that you are on terms of intimacy with Sir George Smart :
he is a man of his word, also my friend and your friend. Had it
been otherwise, it might have affected, and to my injury, my whole
career. Meanwhile, I am quite ready, if you insist on it, to deliver
up every sheet of music. Sir George Smart will write by next post
and confirm this. You say I have not even recognised your friend-
ship, yet, when in Vienna I never ceased speaking of your friendship,
and how proud I was of it. Also you may remember that I offered
you the little I possess, which, however, you magnanimously
declined. I have taken great trouble about the dedication of your
Trio, and only found one lady who offered ten guineas in return. If
you are satisfied with this, please let me know. Sir G. S. will give
you his opinion with regard to a concert for your benefit. He
understands such matters better than I do. I hope, however, the
Philharmonic will organise a concert for you — free of expense. I

430 BEETHOVENS LETTERS

again assure you that you have no two better friends than Sir G. S.
and myself. Whatever is done in London to your advantage and
honour will take place through us. I now hope you will think
better of me. I am once again, as formerly, a free man.

" Write to me in French or German with Latin letters. I will
write by next post to Häring.

" My address : Charles Neate, Esq.,
"No. 10, High Row,

" Knightsbridge, London."

[It was necessary to give the whole of this letter, so as clearly
to establish the relationship between Neate and Beethoven, also
Beethoven's business relations with English publishers. There
was a third friend, Stumpff, who, together with the noble English-
men Smart and Neate, remained faithful friends of Beethoven until
his premature death.]

DXXXV AN CHARLES NEATE

[At Beethoven's dictation.]

Vienna, 18th December, 1816.
My dear Sir,

Both letters to Mr. Beethoven and to me arrived. I
shall first answer his, as he has made out some memorandums,
and would have written himself, 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 Phil-
harmonic, when all my works in your hands were unpublished,
has done me great harm ; but it could not helped, and at
this moment I know not what to say. Your 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 pianoforte and
violoncello, I wish to see them sold very soon, as J have
several offers for them i^ Germany, which depend entirely
upon me to accept ; but I should not wish, by publishing
them here, to loss all and every advantage with them in

BEETHOVENS LETTERS 431

England, I am satisfied with the 10 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 works 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 him, 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 goodness 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 by no means
reckon them amongst my best works (which I can boldly
say of the Symphony in A), but still thy 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."

[According to J. Moscheles (" Life of Beethoven ") who in reference
to the sentence: " I mean Symphonies, an Oratorio, or Cantatas,"
states that, " In consequence of this offer, the Philharmonic Society
ordered a Symphony for one hundred guineas, and he accordingly
sent them his Ninth Symphony." (See, however, note to letter
1189a).— Te.]

DXXXVI To the Lawyer DR. VON KANKA in Prague

Vienna, 28th December, 1816.

By to-morrow morning's mail coach will be despatched
for you, a Symphony of mine in score, the mentioned Battle
Symphony in score, Trio and a violin Sonata and a few
vocal pieces. I know that each time you look forward
to my being grateful for all that you do for me, also
for my half-year (pay) which you so quickly sent to
me recently. Now another favour, or rather a request, or
still better, a commission. The town of Retz, containing
about 500 houses, appoints you Curator of a certain Johann

432 BEETHOVENS LETTERS

Hamatsch in Prague. For Heaven's sake do not refuse such
an ordinary reasonable piece of legal business, for through it
my poor little nephew will finally come into a small fortune.
Of course the matter will first have to be thrashed out by
our respective magistrates, because the mother will probably
derive some advantage from it. Only think how much
time it will take, my poor unfortunate brother died without
seeing the end of it. For the law courts are likewise under
the special care of His Majesty, so that the predecessor of
the present syndic of the town of Retz wished to let my
brother have 5000 fl. instead of 500 fl. The present syndic
only took 30 days and as many nights merely to extricate
this affair from the confusion in which it had been left.
Yes, such honourable men we have about us, for which
blessings on our good Christian Monarch. The present
syndic himself is an out and out honest and active man (for
he might even likewise be the same as the former one),
meanwhile the above-named Hamatsch at Prague (a business
man) has not yet given his consent. (N.B. for the last 4
or 5 years).

The Syndic Bajer of Retz will send you the Curator decree
together with a copy of the bill from the Retz magistrate.
I know only too well how small and unimportant such things
are for a clever man such as yourself ; should you not find
it the sort of thing you would care to undertake, I would ask
you to find some one, and as much as possible help to look
after the matter yourself. But I certainly think that it
would be best in every way for you to do it ; perhaps a
simple consultation with this man at Prague might bring
the matter to an end.

My nephew so dear to me is in one of the best institutes
in Vienna. He shows great talent but I have to pay all
expenses and perhaps indeed through the settlement of this
Retz affair I may have a few hundred florins more every
year to spend on the education of my dear orphan. I
embrace you as one of my dearest friends.

Yours,

Beethoven, ^.

[According to Thayer (iii. 417). We hear from this letter for
the first time about an inheritance in favour of the nephew Carl.
Whether Dr. Kanka, every ready to help, undertook the matter,
we cannot say ; anyhow, nothing came of it, we do not hear a
single word more about it.]

BEETHOVENS LETTERS 43J3

DXXXVII To FRAU NANETTE STREICHER,

nee Stein

December 28, 1816.

Already yesterday N. ought to have given you the New
Year's note ; she, however, did not do so. The day before,
I had business with Maelzel, who is very pressed for time,
as he is soon going away from here ; hence you will quite
understand that otherwise I should, without fail, have
hurried up. Yesterday your dear good daughter came to
see me, but I was very ill, worse than I can ever remember.
It took my nice servants from seven to ten o'clock in the
evening before they could get the oven alight. The excessive
cold, especially in my state of health, brought on a chill,
and all day yesterday I could scarcely move a limb. A
cough, worse pains in my head than I have ever had, lasted
the whole day. Already in the evening, about six o'clock, I
had to go to bed, and I am still there, although I feel some-
what better. Your brother dined with me, and showed me
great kindness. On the same day, as you know, namely
December 27, 1 gave B. notice. The low behaviour of these
persons is unbearable, and I wonder whether N. will behave
better when the other has gone ; but I doubt it, and in that
case she will have to clear out at a moment's notice. For a
housekeeper she has not sufficient training, is too beastly ;
you can tell by the face of the other that she is lower than a
beast. As New Year's Day is approaching, I think six florins
will be enough for Nannie ; I have not given her the four
florins for getting her spencer made on account of her bad
behaviour to you. The other does not really deserve a New
Year's present ; besides, she had nine florins in advance, and
when she goes away I shall only be able at most to deduct 4
or 5 fl. I hope you will approve of all this, and now my best
thoroughly sincere wishes for your prosperity. I. am in so
many ways indebted to you that I often feel ashamed.
Farewell ; continue to be my friend.

As always,
Your,

To Countess Streicher, L. v. Beethoven.

nee v. Stein.
[with Beethoven's visiting-card.]

[According to 0. Jalm's copy. This is the first letter of the
master to his noble-hearted friend, Nanette Streicher, wife of Joh.

I 2E

434 BEETHOVENS LETTERS

Andreas Streicher, the youthful friend of Fr. v. Schiller. As
daughter of the well-known Augsburg pianoforte manufacturer
Stein, she received a careful musical education. The married
couple settled in Vienna in 1793, where they founded the Streicher
pianoforte manufactory which afterwards became so celebrated.
As both were excellent musicians, they naturally made friends with
Beethoven, and, as I have shown in my " Beethoven's Frauenkreis "
they had already made the acquaintance of the youthful Beethoven
in 1787. Nanette may be called Beethoven's merciful Samaritan.
In the year 1813, in which, like Beethoven, she was spending the
summer away from the hot city, she took care of the neglected
musician. Schindler was informed by Nanette Streicher that at
that time Beethoven, " as regards bodily wants of all kinds, was
in a pitiable condition. He had no good clothing, and was
very short of linen." As with v. Zme&kall there were now
endless complaints concerning the male servants, so with Frau
Streicher, and in more forcible manner, concerning housemaids and
cooks, as in the present letter concerning N. and B. = Nannie and
Baberl. The letters of Beethoven to Nanette Streicher in Otto
Jahn's manuscript are sixty-two in number, and of these, twenty
were published for the first time in my " Neue Beethovenbriefe."]

DXXXVIII To the ARCHDUKE RUDOLPH

31 December, 1816.
Your Imperial Highness !

Already since the concert for the burghers I was again
obliged to keep my room. It will still be some time before
I can venture not to trouble about my state of health. The
year has come to an end ; my most ardent wishes begin
with the new year for the prosperity of Y.I.H. ; with me,
indeed, they have neither beginning nor end, for every day
I entertain the same wishes for Y.I.H. I venture to add
one for myself, viz., that I may daily grow and increase in
your favour and grace. The master will always endeavour
to show himself worthy of the favour of his worthy master
and pupil.

Your Imperial Highness's
most obedient servant,
Ludwig van Beethoven.
Last day of December, 1816.

[According to the original manuscript in the archives of the
Gesellschaft der Musikfreunde, Vienna ; first printed by von Koechel.
At the concert for the burghers, December 26, 1816, in the Redout-
ensaal, Beethoven had himself conducted his A major Symphony.
The notice gives interesting details with regard to this concert.

BEETHOVENS LETTEIIS 435

(See Leipziger Allgemeine Zeitung of January 22, 1817.) Among
other tilings the writer states that he was present at two of the
orchestral rehearsals.]

DXXXIX To S. A. STEINER & CO.

[End of 1816]

I sent word even to-day to send me one copy nicely got up,
of the Symphony in A, for as usual I must send two to Count
Fries, if possible not later than 3 o'clock. B.

[According to Jahn's copy ; first printed by Thayer (iii. 499).
The A major Symphony, dedicated to the Imperial Count Moritz
von Fries, was announced at Steiner's on December 21, 1816.]

DXL To FRAU NANETTE STREICHER

[December 1816]

I sent word yesterday that you could keep N.'s letter as
long as you liked — I hope you are better ; the weather is
of the kind that no sensitive man can go out, so I do not go
out, neither probably do you — for the rest I do not wish
you to misunderstand me ; I have no intercessors, no claims.
I hope you will soon be better and then we shall, of course,
see each other.

As always,

Your friend,

Beethoven.
For Frau von Streicher.

[According to Jahn's copy ; first published by the present
editor in his " Neue Beethovenbriefe." The N. is probably an
abbreviation for " Neate," who had made Beethoven's acquaintance
at Vienna in the year 1815. Just about this time — end of 1816
and 1817 — Beethoven and Neate, as we know, were carrying on a
lively correspondence with each other.]

DXLI To FRIEDRICH TREITSCHKE

[December 1816]
Best of poets and thinkers !

Please send the manuscript of the song in A major to
Steiner in the Pater-unscr-gässerl ; there are some faults in

486 BEETHOVENS LETTERS

the printed notes. After the faults are corrected, you can,
if you care about it, at once receive the manuscript from
Steiner.

Thanks for the copy
of your poems.

Your friend,
Beethoven.

[According to Jahn's copy ; first published by the present
editor in his " Neue Beethovenbriefe." The statement of the key
in this letter gives a hint about the composition referred to ; like-
wise the date of the letter can be fairly well determined. The song
must have been " Der Ruf vom Berge," poem by Treitschke.
Beethoven composed this song on December 13, 1816, and it
appeared as a supplement to Treitschke's poems in 1817. The
firm of Steiner was in " Paternostergasse," here rechristened " Pater-
unser-gässerl."]

DXLII To STEINER & CO.

[1816]

The G — 1 — t has to send back to me all the parts to-day ;
the bearer of this will fetch them this evening, and then, the
day after, I can send the parts, together with the score, and
so there will be an end of corrections. For the future I
forbid all pasting over in my works ; for I have not the
patience mentioned in the musical paper, but speak out my
just anger about dog's-earing.

Your,

Beethoven.

[According to Jahn's copy ; printed by Thayer (iii. 493).]

DXLIII To STEINER & CO.

[1816]

I do not send enclosed with this the written score, I have
certainly looked through it, and probably it is not without
faults. My opinion is that if extracts are still to be made,
those completed by me should be returned immediately after
the present correction, and in addition the printed copies by
which the extracts will also be completed. Please tell me
where pure grey sand is to be got ; mine is used up, and the
Asini about me can't find out anything of that kind.

Your,

L. v. Beethoven.

BEETHOVENS LETTERS 437

Ritardaudo.

Straight Pause.

Yours,

L. v. Beethoven.

[According to Jahn's copy ; printed by Thayer (iii. 493). The
50 bars pause perhaps indicate that the head of the firm and his
people should wrap themselves up in deep silence.]

DXLIV To HASLINGER

[1816]
Here I send the corrected parts you will easily find what
belongs together, and I recommend once more the strictest
conscientiousness in everything that has been arranged about
them. The fines to be paid by the adjutant to the Gs noted
in the works indicated yesterday are expected this very day.

G— s.

[According to Jahn's copy ; printed by Thayer (iii. 494).]

DXLV To STEINER & CO.

[1816]
I here send a small field-piece which is to be conveyed
at once to the armoury (as a present). As regards Herr
Diabolus, he is to be retained on account of his general
skill ; if any change is to be made, it can be done as on the
former occasion with the Symphony in F. With respect to
a new solo sonata for piano, 60 men in strong armour have
to present themselves before me, and the same will at once
appear. I have also Variations in my mind, suitable for a
special festival, and they also would be forthcoming, on the
appearance of only 40 men in strong armour. As for the
state debt of 1300 florins, the same cannot yet be taken into
consideration ; besides, the 1300 florins would look at their
best in the following form 0000. I hold the chief in astonish-
ingly high esteem.

L. v. Bthen.

[According to the original manuscript in the Royal Library,
Berlin ; printed by Thayer (iii. 494). The men in strong armour

438 BEETHOVEN'S LETTERS

are ducats ; Diabelli wishes for new works for publication from
Beethoven. But the eventual honorarium is not to be deducted
from the " state debt," i.e., the 1300 florins borrowed from Steiner
and Co.]

DXLVI To STEINER & CO.

[1816]

The chief is empowered to send me at once 100 fl., Vienna
value, by the bearer of this, and at the same time to buy-
stamped paper, and to hand in the receipts. So far as our
mines are concerned, nothing at present can be delivered
up. But should the chief be willing to open his, this can
only be done by means of Supplicanduw, since no fresh
offers will be accepted.

The G— s.

[According to Jalin's copy ; ' printed by Thayer (iii. 495).
BeethovTen's " mines " are his very own inner shaft, from which
spring new tone creations ; he will not make any kind of offer, but
wait for offers from the firm.]

DXLVII To STEINER & CO.

[1816]

The chief is requested to convert these 100 fl C.C. into
paper to-day, without deduction, as becomes such a harsh
man of his rank.

Likewise the same is requested, concerning the 4000 fl.
in twenty-kreuzer pieces which ought to flow into the treasury,
to reflect both before and after — and again behind, and to
let us know the result ; for these new merits the same is
entitled to the highest rank. With undescribable scribbling
I sign myself

G — s.

[According to Jahn's copy ; printed by Thayer (iii. 495).]

DXLVIII To STEINER & CO.

[1816]

We beg that our to-day's request be not forgotten, as
we are unable to go out, and want the money early to-morrow.
As regards the Adjut., the same is at once to be taken in
carcere, and warned to prepare for the court-day to-morrow
at half -past three in the afternoon. The same will be charged

BEETHOVENS LETTERS 489

with grave political crimes ; among others, of having paid
no heed to the silence imposed on him with regard to important
state business.

Given without giving anything to the &c. &c.

- -ß -ß

[According to Jalm's copy ; printed by Thayer (iii. 495).
This letter appears to be immediately connected with the previous
one ; Beethoven, apparently, wishes to contract a new debt.]

DXLIX To TOBIAS HASLINGER

[1816]

Herr Adjutant, guilty or innocent, is requested to
send the corrections of the Symphony in F and of the
Sonata in A major, for just now I am staying in, and can
get on sooner with the matter. Some people are especially
worrying me about the Sonata so difficult to play ; who can

• • • • •

help writing such difficulties o CD ! !' ' R • -^ 1S hoped

that the health of the Adjutant, who is as uncouth as he is
polite, will improve, so that at last he will be able to get on.

L. v. Beth.

[According to Jahn's copy (c/. Thayer iii. 496). The Sonata
(Op. 101) dedicated to Baroness Ertmann, appeared at Steiner's
in 1817. Like all the last five Sonatas, it is difficult to perform, but
there are no quarter demisemiquavers in it.]

DL To STEINER & CO.

[1816]

The former faults in the quartet have still to be corrected,
then follows the list of faults in the score, in the parts, and
quartet parts. You are all asleep. I shall have to appear
in thunder and lightning to get the matter on.

G— s.

[According to Jahn's copy ; first printed by Thayer (iii. 496).]

Printed by Bali.antyne & Co. Limited
Tavistock Street, Covent Garden, London

Date Due

OCT 8

OCT 3 V

DEC 1 4

5 1 7 195,

)

NOV T

"5F

2 3'<

Library Bureau Cat. no. 1137

OCT,

927.81 B39xka

3 5002 00247 9249

ML 410 . B4

A222 1

r^-7— -.-._._t^,l

Beethoven,

Ludwig

van,

1770- ;

1827.

Beethoven '

s letters

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "Beethoven's letters;"

See other formats