VOLUME II.

Beethoven's Letters to Mademoiselle Von Breuning, Wegeler, and Ries.

Beethoven's Correspondence with Messrs. Neate and Ries.

Account of a Concert given by Beethoven at the Kaernthnerthor Theatre, Vienna.

Characteristics of Beethoven from Wegeler and Ries's "Notizen."

Additional Characteristics, Traits, and Anecdotes of Beethoven.

Beethoven's Last Moments.

Funeral Honours to Beethoven, and Miserere. Amplius. Libera, for four voices, with an Organ accompaniment, performed at the funeral.

Concert in aid of Beethoven's Monument, at Drury Lane Theatre, July 19th, 1837.

Sale of Beethoven's MSS. and Musical Library.

Systematic Catalogue of all the original Works of Beethoven, published by T. Haslinger, from Vienna.

Moscheles' complete Edition of Beethoven's Works, published by Messrs. Cramer and Co.

So far the task of explanation is easy; but I am now entering upon more delicate ground--my own qualifications for the editorship. If in stating these I appear to be somewhat prolix, I hope that a little indulgence may be conceded to me from my desire to show that my impressions of reverence for Beethoven's genius are not things of yesterday; but that I began early to follow him in his glorious creations, and to study his personal, as well as his artistical character, with an enthusiasm which years and experience have done nothing to diminish. To satisfy the craving which I felt, when a boy nine or ten years old, at Prague, for the best musical productions of the time, I subscribed to a library which afforded me the compositions of Dussek, Steibelt, Woelffl, Kozeluch, and Eberl--works of no insurmountable difficulty to me; though, indeed, so far from mastering them, I only ran through them, without particular attention to finish, enjoying in each its peculiar style. I had been placed under the guidance and tuition of Dionysius Weber, the founder and present director of the Prague Musical Conservatory; and he, fearing that, in my eagerness to read new music, I might injure the systematic development of my Piano-forte playing, prohibited the library; and, in a plan for my musical education which he laid before my parents, made it an express condition, that for three years I should study no other authors but Mozart, Clementi, and S. Bach. I must confess, however, that, in spite of such prohibitions, I visited the library, gaining access to it through my pocket-money. It was about this time that I learnt from some school-fellows that a young composer had appeared at Vienna, who wrote the oddest stuff possible--such as no one could either play or understand; crazy music, in opposition to all rule; and that this composer's name was _Beethoven_. On repairing to the library to satisfy my curiosity as to this so-called eccentric genius, I found there Beethoven's _Sonate pathétique_. This was in the year 1804. My pocket-money would not suffice for the purchase of it, so I secretly copied it. The novelty of its style was so attractive to me, and I became so enthusiastic in my admiration of it, that I forgot myself so far as to mention my new acquisition to my master, who reminded me of his injunction, and warned me not to play or study any eccentric productions until I had based my style upon more solid models. Without, however, minding his injunctions, I seized upon the piano-forte works of Beethoven as they successively appeared, and in them found a solace and a delight such as no other composer afforded me.

In the year 1809, my studies with my master, Weber, closed; and, being then also fatherless, I chose Vienna for my residence to work out my future musical career. Above all, I longed to see and become acquainted with _that man_ who had exercised so powerful an influence over my whole being; whom, though I scarcely understood, I blindly worshipped. I learnt that Beethoven was most difficult of access, and would admit no pupil but Ries; and, for a long time, my anxiety to see him remained ungratified. In the year 1810, however, the longed-for opportunity presented itself. I happened to be one morning in the music-shop of Domenico Artaria, who had just been publishing some of my early attempts at composition, when a man entered with short and hasty steps, and, gliding through the circle of ladies and professors assembled on business or talking over musical matters, without looking up, as though he wished to pass unnoticed, made his way direct for Artaria's private office at the bottom of the shop. Presently Artaria called me in, and said, "_This is Beethoven!_" and, to the composer, "This is the youth of whom I have just been speaking to you." Beethoven gave me a friendly nod, and said he had just heard a favourable account of me. To some modest and humble expressions which I stammered forth he made no reply, and seemed to wish to break off the conversation. I stole away with a greater longing for that which I had sought than I had felt before this meeting, thinking to myself--"Am I then indeed such a nobody that he could not put one musical question to me?--nor express one wish to know who had been my master, or whether I had any acquaintance with his works?" My only satisfactory mode of explaining the matter and comforting myself for this omission was in Beethoven's tendency to deafness, for I had seen Artaria speaking close to his ear.

But I made up my mind that the more I was excluded from the private intercourse which I so earnestly coveted, the closer I would follow Beethoven in all the productions of his mind. I never missed the Schuppanzigh Quartetts, at which he was often present, or the delightful Concerts at the Augarten, where he conducted his own Symphonies. I also heard him play several times, which however he did but rarely, either in public or private. The productions which made the most lasting impression upon me, were his Fantasia with orchestral accompaniments and chorus, and his Concerto in C minor. I also used to meet him at the houses of MM. Zmeskall and Zizius, two of his friends, through whose musical meetings Beethoven's works first made their way to public attention: but, in place of better acquaintance with the great man, I had mostly to content myself on his part with a distant salute.

It was in the year 1814, when Artaria undertook to publish a piano-forte arrangement of Beethoven's "Fidelio," that he asked the composer whether I might be permitted to make it: Beethoven assented, upon condition that he should see my arrangement of each of the pieces, before it was given into the engraver's hands. Nothing could be more welcome to me, since I looked upon this as the long wished-for opportunity to approach nearer to the great man, and to profit by his remarks and corrections. During my frequent visits, the number of which I tried to multiply by all possible excuses, he treated me with the kindest indulgence. Although his increasing deafness was a considerable hindrance to our conversation, yet he gave me many instructive hints, and even played to me such parts as he wished to have arranged in a particular manner for the piano-forte. I thought it, however, my duty not to put his kindness to the test by robbing him of his valuable time by any subsequent visits; but I often saw him at Maelzel's, where he used to discuss the different plans and models of a Metronome which the latter was going to manufacture, and to talk over the "Battle of Vittoria," which he wrote at Maelzel's suggestion. Although I knew Mr. Schindler, and was aware that he was much with Beethoven at that time, I did not avail myself of my acquaintance with him for the purpose of intruding myself upon the composer. I mention these circumstances to show how very difficult of access this extraordinary man was, and how he avoided all musical discussion; for even with his only pupil, Ries, it was very seldom that he would enter into any explanations. In my later intercourse with him, he gave me but laconic answers on questions of art; and on the character of his own works, made only such condensed remarks as required all my imagination and fancy to develop what he meant to convey. The impatience naturally accompanying his infirmity of deafness, no doubt greatly increased his constitutional reserve in the latter part of life.

On subsequent visits to Vienna, after I had established myself in London, in the year 1821, Beethoven received me with increased cordiality; and that he counted on me as a friend I think is proved, by his intrusting me, during his last illness, with an important mission to the Philharmonic Society of London, of which mention is made in the following pages.

My feelings with respect to Beethoven's music have undergone no variation, save to become warmer. In the first half-score of years of my acquaintance with his works, he was repulsive to me as well as attractive. In each of them, while I felt my mind fascinated by the prominent idea, and my enthusiasm kindled by the flashes of his genius, his unlooked-for episodes, shrill dissonances, and bold modulations, gave me an unpleasant sensation. But how soon did I become reconciled to them! All that had appeared hard, I soon found indispensable. The gnome-like pleasantries, which at first appeared too distorted--the stormy masses of sound, which I found too chaotic--I have, in after-times, learned to love. But, while retracting my early critical exceptions, I must still maintain as my creed, that eccentricities like those of Beethoven are reconcileable with _his_ works alone, and are dangerous models to other composers, many of whom have been wrecked in their attempts at imitation. Whether the musical world can ever recognise the most modern examples of effort to outdo Beethoven in boldness and originality of conception, I leave to future generations to decide.

But all that I have ever felt or thought of Beethoven, his elevation above all his contemporaries, and his importance to art, are so beautifully expressed by the celebrated critic, H. G. Nägeli, that I shall not forbear to avail myself of a passage in one of his lectures,[1] although the fear of being charged with vanity, from its containing a compliment to myself, might have deterred me from so doing. It may be necessary to premise that the critic considers J. S. Bach as the fountain-head of instrumental music, and ascribes its further and gradual development to C. P. E. Bach, J. Haydn, Mozart, Clementi, Cramer, Pleyel, until the art attained its climax under Beethoven at the beginning of the present century.--"Beethoven (says Nägeli) appeared a hero in the art; and where shall the historian find words to depict the regeneration he produced, when the poet himself must here feel at a loss? Music had received two-fold injury in its purity of style--I mean instrumental music, unaided by the charms of vocalisation, as it had existed at the point to which it had been elevated by the Bachs. Mozart's Cantabile, as contrasted with the strict school, and Pleyel's divertimento style, had diluted and debased it; and to Beethoven, the hero, do we owe its regeneration now and for ever. Instinctively original, keenly searching for novelty, resolutely opposing antiquated forms, and freely exploring the new world which he had created not only for himself but for all his brethren in the art, he may be said to have set to all a task, the solution of which is a constant regeneration of design and idea; thus giving full scope to the emanations of the mind. Beethoven's music wears an ever-varying aspect, bright in all its changes, yet could its language not at once become familiar to those, who had lulled their higher powers to rest with the hum of Divertimento's and Fantasias, whilst on all sides the worshippers of the _Cantilena_ were heard to exclaim, 'And is such originality beautiful? and should there not be beauty to render originality palatable?'--little thinking that Beethoven's weapons were of a higher order, and that he conquered, not by winning over his hearers to the soft Cantilena alone, but by speaking in sounds unearthly, thrilling, penetrating, filling the soul, and carrying along--not individuals, but cities--even the whole of Europe. As to the art of piano-forte playing, that too gained a new aspect under him; running passages were set aside; the Toccata style took unexpected forms in his hands. He introduced combinations of distant intervals, original in their very aspect, and heightened by peculiarities of rhythm and staccato's, absorbing in their sparkling brilliancy the Cantabile, to which they formed a glaring contrast. Unlike Steibelt, Dussek, and some of their cotemporaries, in their endeavours to _draw_ out the tone (_filez le son_), Beethoven would _throw_ it out in detached notes, thus producing the effect of a fountain gushing forth and darting its spray on all sides, well contrasting with the melodious episodes which he still preserved. But a genius like his soon found the limits of piano-forte music too narrow a sphere to move in, and he produced, in turn, works for stringed instruments, and for a whole band. Nevertheless, he never _would_ dive into the mysteries of the science of counterpoint; had he done so, he would have trodden the path of a J. S. Bach, and his imaginative vein, as well as his creative genius, might have been checked. Let us then bow to him, as the inventor, _par excellence_, of our era. The cotemporaries who vied with him at the beginning of the new century were--Eberl, Haak, Hummel, Liste, Stadler, Tomaschek, Weyse, and Wölffl; but he towered above them all, and did not cease to pour out endless stores of invention and originality, exciting in later years anew body of aspirants to enter the lists of inventive composition,--and with success. We name Feska, Hummel, Onslow, Reicha, Ries, the two Rombergs, Spohr, C. M. v. Weber; and of a yet later date, Kuhlau, Tomaschek, and Worzischek: these have been joined in the last few years by Carl Czerny and Moscheles. Thus do we live in an era fertile in genius, fertile in productions--an era, regenerated by the master spirit--Beethoven!"

But I will detain the reader no longer. If, in my preface, I have appeared to him tedious, I would beg him to remember the words of Pliny the younger--"I have not time to write a short letter, therefore I send you a long one."

I. MOSCHELES.

_3, Chester Place, Regent's Park, January, 1841._

CONTENTS

OF THE

FIRST VOLUME.

PAGE

INTRODUCTION by Schindler 1

LIFE OF BEETHOVEN.

FIRST PERIOD.

[FROM HIS BIRTH TO THE YEAR 1800.]

Beethoven's Parentage--Contradiction of a Report on that subject--His musical Education--Tale of a Spider--Appointed Organist to the Chapel of the Elector of Cologne--Patronised by Count von Waldstein--Clever Trick played by him--His first Musical Productions--Haydn--Sterkel--Beethoven's Aversion to give Lessons--Youthful Friendships--He is sent to Vienna to improve himself under Haydn--Acquaintances made by him there--Dr. van Swieten--Prince and Princess Lichnowsky--Envy excited by his success--His indifference to Calumny, and to the Accidents of Birth or Wealth--M. Schenk, the corrector of his Compositions--His early Attachments--His Compositions during this Period--Prices paid for them--The Rasumowsky Quartett--Professional Tour--State of Musical Science at Vienna. 25

SECOND PERIOD.

[FROM 1800 TO OCTOBER, 1813.]

General View of the Second Period of Beethoven's Life--Composition of his "Christ on the Mount of Olives" and "Fidelio"--His brothers, Carl and Johann; their mischievous influence--His severe Illness--Remarkable Will addressed to them--His "Sinfonia Eroica," in honour of Napoleon--Count Moritz von Lichnowsky--Opera of "Fidelio"--Beethoven's Neglect of Vocal Performers--Their Intrigues and Cabals--His Passion for Julia--Letters to her--Disappointed Love--Countess Marie Erdödy--Beethoven as Director of the Orchestra--Animadversions on Statements of Ferdinand Ries--Beethoven forms a Friendship with Count Franz von Brunswick and Baron Gleichenstein--Prices paid for his Compositions during the Second Period--Misconduct of his Brothers--Defence of his Character against the charge of Cowardice--Annuity settled upon him, to keep him in Austria--His dislike of, and reconciliation with, Hummel--Foreign Visitors--Bettina Brentano--Göthe--Beethoven's frequent change of Residence--His Domestic Circumstances. 71

THIRD PERIOD.

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