Part 10
Don't be indignant with me for asking you to address the enclosed letter properly; the person for whom it is intended is constantly complaining that he gets no letters from me. Yesterday I took one myself to the post-office, when I was asked where the letter was meant to go. I see, therefore, that my writing seems to be as little understood as myself. Thence my request to you. Your
BEETHOVEN.
116.
LETTER OF THANKS.
I esteem it my duty to express my gratitude for the great zeal shown by all those artists who so kindly coöperated on the 8th and 12th December [1813] in the concerts given for the benefit of the Austrian and Bavarian soldiers wounded at the battle of Hanau. It was a rare combination of eminent artists, where all were inspired by the wish to be of use to their father-land, and to contribute by the exercise of their talents to the fulfilment of the undertaking, while, regardless of all precedence, they gladly accepted subordinate places.[1] While an artist like Herr Schuppanzigh was at the head of the first violins, and by his fiery and expressive mode of conducting kindled the zeal of the whole orchestra, Herr Kapellmeister Salieri did not scruple to give the time to the drums and cannonades; Herr Spohr and Herr Mayseder, each worthy from his talents to fill the highest post, played in the second and third rank. Herr Siboni and Herr Giuliani also filled subordinate places. The conducting of the whole was only assigned to me from the music being my own composition; had it been that of any one else, I would willingly, like Herr Hummel, have taken my place at the big drum, as the only feeling that pervaded all our hearts was true love for our father-land, and the wish cheerfully to devote our powers to those who had sacrificed so much for us. Particular thanks are due to Herr Maelzel, inasmuch as he first suggested the idea of this concert, and the most troublesome part of the enterprise, the requisite arrangements, management, and regulations, devolved on him. I more especially thank him for giving me an opportunity by this concert of fulfilling a wish I have long cherished, to compose for such a benevolent object (exclusive of the works already made over to him) a comprehensive work more adapted to the present times, to be laid on the altar of my father-land.[2] As a notice is to be published of all those who assisted on this occasion, the public will be enabled to judge of the noble self-denial exercised by a mass of the greatest artists, working together with the same benevolent object in view.
LUDWIG VAN BEETHOVEN.
[Footnote 1: The A major Symphony and _Wellington's Victory at Vittoria_ were performed.]
[Footnote 2: "Obsolete" is written in pencil by Beethoven.]
117.
TO THE ARCHDUKE RUDOLPH.[1]
1814.
I beg you will send me the score of the "Final Chorus"[2] for half a day, as the theatrical score is so badly written.
[K.]
[Footnote 1: The spring of 1814.]
[Footnote 2: The _Schlusschor_, the score of which Beethoven requests the Archduke to send him, is in all probability the Finale _Germania! Germania!_ intended for Treitschke's Operetta _Die gute Nachricht_, which refers to the taking of Paris by the Allies, and was performed for the first time at Vienna in the Kärnthnerthor Theatre on the 11th April, 1814. The same _Final Chorus_ was substituted for another of Beethoven's (_Es ist vollbracht_) in Treitschke's Operetta _Die Ehrenpforten_, first given on the 15th July, 1815, in the Kärnthnerthor Theatre. Both these choruses are printed in score in Breitkopf & Härtel's edition of Beethoven's works.]
118.
TO THE ARCHDUKE RUDOLPH.
1814.
Having only so recently received the score of the "Final Chorus," I must ask you to excuse your getting it back so late. The best thing H.R.H. can do is to have it transcribed, for in its present form the score is of no use. I would have brought it myself, but I have been laid up with a cold since last Sunday, which is most severe, and obliges me to be very careful, being so much indisposed. I never feel greater satisfaction than when Y.R.H. derives any pleasure through me. I hope very soon to be able to wait on you myself, and in the mean time I pray that you will keep me in remembrance.
[K.]
119.
TO THE ARCHDUKE RUDOLPH.
1814.
The song "Germania" belongs to the whole world who sympathize with the subject, and to you beyond all others, just as I myself am wholly yours. I wish you a good journey to Palermo.
[K.]
120.
TO TREITSCHKE.
March, 1814.
MY DEAR, WORTHY T.,--
I have read with the greatest satisfaction your amendments of the Opera ["Fidelio" which was about to be again performed]. It has decided me once more to rebuild the desolate ruins of an ancient fortress.
Your friend,
BEETHOVEN.
121.
TO TREITSCHKE.
The affair of the Opera is the most troublesome in the world, and there is scarcely one part of it which quite satisfies me now, and that I have not been obliged to _amend by something more satisfactory_. But what a difference between this, and giving one's self up to freely flowing thought and inspiration!
122.
TO TREITSCHKE.
1814.
I request, my dear T., that you will send me the score of the song [in "Fidelio," _Geld ist eine schöne Sache_], that the interpolated notes may be transcribed in all the instrumental parts; though I shall not take it at all amiss if you prefer that Girowetz or any other person, perhaps Weinmüller [who sang the part of Rocco], should do so. This I have nothing to say against, but I will not suffer my composition to be altered by any one whatever, be he who he may.
I am, with high consideration,
Your obedient
BEETHOVEN.
123.
TO COUNT MORITZ LICHNOWSKY.[1]
MY DEAR COUNT,--
If you wish to attend our council [about the alterations in "Fidelio"], I beg to inform you that it assembles this afternoon at half-past three o'clock, in the Spielmann Haus, auf dem Graben, No. 188, 4th Etage, at Herr Weinmüller's. I shall be very glad if you have leisure to be present.
[Footnote 1: The mention of Weinmüller decides the date of this note, as it was in the spring of 1814 that he, together with the singers Saal and Vogl, brought about the revival of _Fidelio_.]
124.
TO COUNT MORITZ LICHNOWSKY.[1]
My dear, victorious, and yet sometimes nonplussed (?) Count! I hope that you rested well, most precious and charming of all Counts! Oh! most beloved and unparalleled Count! most fascinating and prodigious Count!
[Music: Treble clef, E-flat Major, 2/2 time. Graf Graf Graf Graf (in 3-part harmony) Graf (in 3-part counterpoint) Graf Graf Graf, liebster Graf, liebstes Schaf, bester Graf, bestes Schaf! Schaf! Schaf!]
(_To be repeated at pleasure_.)
At what hour shall we call on Walter to-day? My going or not depends entirely on you. Your
BEETHOVEN.
[Footnote 1: In Schindler's _Beethoven's Nachlass_ there is also an autograph Canon of Beethoven's in F major, 6/8, on Count Lichnowsky, on the words, _Bester Herr Graf, Sie sind ein Schaf_, written (according to Schindler) Feb. 20th, 1823, in the coffee-house "Die Goldne Birne," in the Landstrasse, where Beethoven usually went every evening, though he generally slipped in by the backdoor.]
125.
TO THE ARCHDUKE RUDOLPH.
1814.
I hope you forgive me for not having come to you. Your displeasure would be totally undeserved, and I will amply compensate for lost time in a few days. My Opera of "Fidelio"[1] is again to be performed, which gives me a great deal to do; moreover, though I look well, I am not so in reality. The arrangements for my second concert[2] are partly completed. I must write something new for Mdlle. Milder.[3] Meanwhile it is a consolation to me to hear that Y.R.H. is so much better. I hope I am not too sanguine in thinking that I shall soon be able to contribute towards this. I have taken the liberty to apprise my Lord Falstaff[4] that he is ere long to have the honor of appearing before Y.R.H.
[K.]
[Footnote 1: Letters 125 and 126 refer to the revival of the Opera of _Fidelio_, which had not been given since 1806, and was not again produced on the stage till the 23d May, 1814, in the Kärnthnerthor Theatre. Beethoven's benefit took place on the 8th July, two newly composed pieces being inserted.]
[Footnote 2: Beethoven gave a concert on the 2d January, 1814, when _Wellington's Victory_ was performed, and on the 26th March another for the benefit of the Theatrical Fund, at which the _Overture to Egmont_ and _Wellingtons's Victory_ were given, directed by Beethoven himself.]
[Footnote 3: Anna Milder, Royal Court opera singer, a pupil of Vogl's, who first sang the part of Leonore in _Fidelio_.]
[Footnote 4: By "my Lord Falstaff" he means the corpulent violinist Schuppanzigh.]
126.
TO THE ARCHDUKE RUDOLPH.
Vienna, July 14, 1814.
Whenever I inquire about you I hear nothing but good news. As for my own insignificant self, I have been hitherto hopelessly detained in Vienna, and unable to approach Y.R.H.; I am also thus deprived of the enjoyment of beautiful Nature, so dear to me. The directors of the theatre are so _conscientious_, that, contrary to their faithful promise, they have again given my Opera of "Fidelio," without thinking of giving me any share in the receipts. They would have exhibited the same commendable good faith a second time, had I not been on the watch like a French custom-house officer of other days. At last, after a great many troublesome discussions, it was settled that the Opera of "Fidelio" should be given on Monday the 18th of July, for my benefit. These _receipts_ at this season of the year may more properly be called _deceits_; but if a work is in any degree successful it often becomes a little feast for the author. To this feast the master invites his illustrious pupil, and hopes--yes! I hope that Y.R.H. will graciously consent to come, and thus add lustre to everything by your presence. It would be a great boon if Y.R.H. would endeavor to persuade the other members of the Imperial family to be present at the representation of my Opera, and I on my part will not fail to take the proper steps on the subject which duty commands. Vogl's illness[1] enabled me to satisfy my desire to give the part of Pizarro to Forti,[2] his voice being better suited to it; but owing to this there are daily rehearsals, which cannot fail to have a favorable effect on the performance, but which render it impossible for me to wait upon Y.R.H. before my benefit. Pray give this letter your favorable consideration, and think graciously of me.
[K.]
[Footnote 1: Joh. Mich. Vogl, born August 10th, 1768, was Court opera singer (tenor) in Vienna from 1794 to 1822; he died November 19th, 1840.]
[Footnote 2: Forti, born June 8th, 1790, a member of the Royal Court Theatre (a barytone), pensioned off in 1834.]
127.
DEPOSITION.
1814.
I voluntarily presented Maelzel _gratis_ with a "Battle Symphony" for his panharmonica. After having kept it for some time, he brought me back the score, which he had already begun to engrave, saying that he wished it to be harmonized for a full orchestra. The idea of a battle had already occurred to me, which, however, could not be performed on his panharmonica. We agreed to select this and some more of my works [see No. 116] to be given at the concert for the benefit of disabled soldiers. At that very time I became involved in the most frightful pecuniary difficulties. Forsaken by every one in Vienna, and in daily expectation of remittances, &c., Maelzel offered me fifty gold ducats, which I accepted, saying that I would either repay them, or allow him to take the work to London, (provided I did not go there myself with him,) referring him to an English publisher for payment.
I got back from him the score written for the panharmonica. The concerts then took place, and during that time Herr Maelzel's designs and character were first fully revealed. Without my consent, he stated on the bills of the concert that the work was _his property_. Indignant at this, I insisted on his destroying these bills. He then stated that I had given it to him as a friendly act, because he was going to London. To this I did not object, believing that I had reserved the right to state the conditions on which the work should be his own. I remember that when the bills were being printed, I violently opposed them, but the time was too short, as I was still writing the work. In all the fire of inspiration, and absorbed in my composition, I scarcely thought at all on the subject. Immediately after the first concert in the University Hall, I was told on all sides, and by people on whom I could rely, that Maelzel had everywhere given out he had paid me 400 gold ducats for the Symphony. I sent what follows to a newspaper, but the editor would not insert it, as Maelzel stands well with them all. As soon as the first concert was over, I repaid Maelzel his fifty ducats, declaring that having discovered his real character, nothing should ever induce me to travel with him; justly indignant that, without consulting me, he had stated in the bills that all the arrangements for the concert were most defective. His own despicable want of patriotism too is proved by the following expressions: "I care nothing at all about L.; if it is only said in London that people have paid ten gulden for admission here, that is all I care about; the wounded are nothing to me." Moreover, I told him that he might take the work to London on certain conditions, which I would inform him of. He then asserted that it was a _friendly gift_, and made use of this phrase in the newspapers after the second concert, without giving me the most remote hint on the subject. As Maelzel is a rude, churlish man, entirely devoid of education or cultivation, it is easy to conceive the tenor of his conduct to me during this time, which still further irritated me. Who could bear to be forced to bestow a _friendly gift_ on such a man? I was offered an opportunity to send the work to the Prince Regent, [afterwards George IV.] It was therefore quite impossible for me to _give away the work unconditionally_.
He then called on a mutual friend to make proposals. He was told on what day to return for an answer, but he never appeared, set off on his travels, and performed the work in Munich. How did he obtain it? He could not possibly _steal_ it; but Herr Maelzel had several of the parts for some days in his house, and he caused the entire work to be harmonized by some obscure musical journeyman, and is now hawking it about the world. Herr Maelzel promised me ear-trumpets. I harmonized the "Battle Symphony" for his panharmonica from a wish to keep him to his word. The ear-trumpets came at last, but were not of the service to me that I expected. For this slight trouble Herr Maelzel, after my having arranged the "Battle Symphony" for a full orchestra, and composed a battle-piece in addition, declared that I ought to have made over these works to him as _his own exclusive property_. Even allowing that I am in some degree obliged to him for the ear-trumpets, this is entirely balanced by his having made at least 500 gulden in Munich by my mutilated or stolen battle-piece. He has therefore paid himself in full. He had actually the audacity to say here that he was in possession of the battle-piece; in fact he showed it, written out, to various persons. I did not believe this; and, in fact, with good reason, as the whole is not by me, but compiled by some one else. Indeed the credit he assumes for the work should alone be sufficient compensation.
The secretary at the War Office made no allusion whatever to me, and yet every work performed at both concerts was of my composition.
Herr Maelzel thinks fit to say that he has delayed his visit to London on account of the battle-piece, which is a mere subterfuge. He stayed to finish his patchwork, as the first attempt did not succeed.
BEETHOVEN.
128.
TO HERR J. KAUKA, DOCTOR OF LAWS IN PRAGUE, IN THE KINGDOM OF BOHEMIA.
The Summer of 1814.
A thousand thanks, my esteemed Kauka. At last I meet with a _legal representative_ and a _man_, who can both write and think without using unmeaning formulas. You can scarcely imagine how I long for the end of this affair, as it not only interferes with my domestic expenditure, but is injurious to me in various ways. You know yourself that a sensitive spirit ought not to be fettered by miserable anxieties, and much that might render my life happy is thus abstracted from it. Even my inclination and the duty I assigned myself, to serve suffering humanity by means of my art, I have been obliged to limit, and must continue to do so.[1]
I write nothing about our monarchs and monarchies, for the newspapers give you every information on these subjects.[2] The intellectual realm is the most precious in my eyes, and far above all temporal and spiritual monarchies. Write to me, however, what you wish _for yourself_ from my poor musical capabilities, that I may, in so far as it lies in my power, supply something for your own musical sense and feeling. Do you not require all the papers connected with the Kinsky case? If so I will send them to you, as they contain most important testimony, which, indeed, I believe you read when with me. Think of me and do not forget that you represent a disinterested artist in opposition to a niggardly family. How gladly do men withhold from the poor artist in one respect _what they pay him in another_, and there is no longer a Zeus with whom an artist can invite himself to feast on ambrosia. Strive, my dear friend, to accelerate the tardy steps of justice. Whenever I feel myself elevated high, and in happy moments revel in my artistic sphere, circumstances drag me down again, and none more than these two lawsuits. You too have your disagreeable moments, though with the views and capabilities I know you to possess, especially in your profession, I could scarcely have believed this; still I must recall your attention to myself. I have drunk to the dregs a cup of bitter sorrow, and already earned martyrdom in art through my beloved artistic disciples and colleagues. I beg you will think of me every day, and imagine it to be an _entire world_, for it is really asking rather too much of you to think of so humble an _individual_ as myself.
I am, with the highest esteem and friendship,
Your obedient
LUDWIG VAN BEETHOVEN.
[Footnote 1: He supported a consumptive brother and his wife and child.]
[Footnote 2: At the Vienna Congress Beethoven was received with much distinction by the potentates present.]
129.
ADDRESS AND APPEAL TO LONDON ARTISTS BY L. VAN BEETHOVEN.
Vienna, July 25, 1814.
Herr Maelzel, now in London, on his way thither performed my "Battle Symphony" and "Wellington's Battle of Vittoria" in Munich, and no doubt he intends to produce them at London concerts, as he wished to do in Frankfort. This induces me to declare that I never in any way made over or transferred the said works to Herr Maelzel; that no one possesses a copy of them, and that the only one verified by me I sent to his Royal Highness the Prince Regent of England. The performance of these works, therefore, by Herr Maelzel is either an imposition on the public, as the above declaration proves that he does not possess them, or if he does, he has been guilty of a breach of faith towards me, inasmuch as he must have got them in a surreptitious manner.
But even in the latter case the public will still be deluded, for the works that Herr Maelzel performs under the titles of "Wellington's Battle of Vittoria" and "Battle Symphony" are beyond all doubt spurious and mutilated, as he never had any portion of either of these works of mine, except some of the parts for a few days.
This suspicion becomes a certainty from the testimony of various artists here, whose names I am authorized to give if necessary. These gentlemen state that Herr Maelzel, before he left Vienna, declared that he was in possession of these works, and showed various portions, which, however, as I have already proved, must be counterfeit. The question whether Herr Maelzel be capable of doing me such an injury is best solved by the following fact,--In the public papers he named himself as sole giver of the concert on behalf of our wounded soldiers, whereas my works alone were performed there, and yet he made no allusion whatsoever to me.
I therefore appeal to the London musicians not to permit such a grievous wrong to be done to their fellow-artist by Herr Maelzel's performance of the "Battle of Vittoria" and the "Battle Symphony," and also to prevent the London public being so shamefully imposed upon.
130.
TO DR. KAUKA.
Vienna, August 22, 1814.
You have shown a feeling for harmony, and you can resolve a great discord in my life, which causes me much discomfort, into more pleasing melody, if you will. I shortly expect to hear something of what you understand is likely to happen, as I eagerly anticipate the result of this most _unjust_ affair with the Kinskys. When the Princess was here, she seemed to be well disposed towards me; still I do not know how it will end. In the mean time I must restrict myself in everything, and await with entire confidence what is _rightfully my own_ and _legally devolves on me_; and though unforeseen occurrences caused changes in this matter, still two witnesses recently bore testimony to the wish of the deceased Prince that my appointed salary in _Banco Zettel_ should be paid in _Einlösung Schein_, making up the original sum, and the Prince himself gave me sixty gold ducats _on account_ of my claim.
Should the affair turn out badly for me by the conduct of the Kinsky family, I will publish it in every newspaper, to their disgrace. If there had been an heir, and the facts had been told to him _in all their truth_, just as I narrated them, I am convinced that he would at once have adopted the words and deeds of his predecessor. Has Dr. Wolf [the previous advocate] shown you the papers, or shall I make you acquainted with them? As I am by no means sure that this letter will reach you safely, I defer sending you the pianoforte arrangement of my opera "Fidelio," which is ready to be dispatched.
I hope, in accordance with your usual friendliness, soon to hear from you. I am also writing to Dr. Wolf (who certainly does not treat any one _wolfishly_), in order not to arouse his _passion_, so that he may have _compassion_ on me, and neither take my purse nor my life.
I am, with esteem, your true friend,
LUDWIG VAN BEETHOVEN.
131.
TO COUNT MORITZ LICHNOWSKY.
Baden, Sept. 21, 1841.[1]
MOST ESTEEMED COUNT AND FRIEND,--