Part 7
Never was there a lovelier spring than this year; I say so, and feel it too, because it was then I first knew you. You have yourself seen that in society I am like a fish on the sand, which writhes and writhes, but cannot get away till some benevolent Galatea casts it back into the mighty ocean. I was indeed fairly stranded, dearest friend, when surprised by you at a moment in which moroseness had entirely mastered me; but how quickly it vanished at your aspect! I was at once conscious that you came from another sphere than this absurd world, where, with the best inclinations, I cannot open my ears. I am a wretched creature, and yet I complain of others!! You will forgive this from the goodness of heart that beams in your eyes, and the good sense manifested by your ears; at least they understand how to flatter, by the mode in which they listen. My ears are, alas! a
## partition-wall, through which I can with difficulty hold any intercourse
with my fellow-creatures. Otherwise, perhaps, I might have felt more assured with you; but I was only conscious of the full, intelligent glance from your eyes, which affected me so deeply that never can I forget it. My dear friend! dearest girl!--Art! who comprehends it? with whom can I discuss this mighty goddess? How precious to me were the few days when we talked together, or, I should rather say, corresponded! I have carefully preserved the little notes with your clever, charming, most charming answers; so I have to thank my defective hearing for the greater part of our fugitive intercourse being written down. Since you left this I have had some unhappy hours,--hours of the deepest gloom, when I could do nothing. I wandered for three hours in the Schönbrunn Allée after you left us, but no _angel_ met me there to take possession of me as you did. Pray forgive, my dear friend, this deviation from the original key, but I must have such intervals as a relief to my heart. You have no doubt written to Goethe about me? I would gladly bury my head in a sack, so that I might neither see nor hear what goes on in the world, because I shall meet you there no more; but I shall get a letter from you? Hope sustains me, as it does half the world; through life she has been my close companion, or what would have become of me? I send you "Kennst Du das Land," written with my own hand, as a remembrance of the hour when I first knew you; I send you also another that I composed since I bade you farewell, my dearest, fairest sweetheart!
Herz, mein Herz, was soll das geben, Was bedränget dich so sehr; Welch ein neues fremdes Leben, Ich erkenne dich nicht mehr.
Now answer me, my dearest friend, and say what is to become of me since my heart has turned such a rebel. Write to your most faithful friend,
BEETHOVEN.
[Footnote 1: The celebrated letters to Bettina are given here exactly as published in her book, _Ilius Pamphilius und die Ambrosia_ (Berlin, Arnim, 1857) in two volumes. I never myself had any doubts of their being genuine (with the exception of perhaps some words in the middle of the third letter), nor can any one now distrust them, especially after the publication of _Beethoven's Letters_. But for the sake of those for whom the weight of innate conviction is not sufficient proof, I may here mention that in December, 1864, Professor Moritz Carrière, in Munich, when conversing with me about _Beethoven's Letters_, expressly assured me that these three letters were genuine, and that he had seen them in Berlin at Bettina v. Arnim's in 1839, and read them most attentively and with the deepest interest. From their important contents, he urged their immediate publication; and when this shortly after ensued, no change whatever struck him as having been made in the original text; on the contrary, he still perfectly remembered that the much-disputed phraseology (and especially the incident with Goethe) was precisely the same as in the originals. This testimony seems to me the more weighty, as M. Carrière must not in such matters be looked on as a novice, but as a competent judge, who has carefully studied all that concerns our literary heroes, and who would not permit anything to be falsely imputed to Beethoven any more than to Goethe. Beethoven's biography is, however, the proper place to discuss more closely such things, especially his character and his conduct in this particular case. At present we only refer in general terms to the first chapter of _Beethoven's Jugend_, which gives all the facts connected with these letters to Bettina and the following ones--a characteristic likeness of Beethoven thus impressed itself on the mind of the biographer, and was reproduced in a few bold outlines in his _Biography_. These letters could not, however, possibly be given _in extenso_ in a general introduction to a comprehensive biography.]
67.
TO BETTINA BRENTANO.
Vienna, Feb. 10, 1811.
DEAR AND BELOVED FRIEND,--
I have now received two letters from you, while those to Tonie show that you still remember me, and even too kindly. I carried your letter about with me the whole summer, and it often made me feel very happy; though I do not frequently write to you, and you never see me, still I write you letters by thousands in my thoughts. I can easily imagine what you feel at Berlin in witnessing all the noxious frivolity of the world's rabble,[1] even had you not written it to me yourself. Such prating about art, and yet no results!!! The best description of this is to be found in Schiller's poem "Die Flüsse," where the river Spree is supposed to speak. You are going to be married, my dear friend, or are already so, and I have had no chance of seeing you even once previously. May all the felicity that marriage ever bestowed on husband and wife attend you both! What can I say to you of myself? I can only exclaim with Johanna, "Compassionate my fate!" If I am spared for some years to come, I will thank the Omniscient, the Omnipotent, for the boon, as I do for all other weal and woe. If you mention me when you write to Goethe, strive to find words expressive of my deep reverence and admiration. I am about to write to him myself with regard to "Egmont," for which I have written some music solely from my love for his poetry, which always delights me. Who can be sufficiently grateful to a great poet,--the most precious jewel of a nation! Now no more, my dear sweet friend! I only came home this morning at four o'clock from an orgy, where I laughed heartily, but to-day I feel as if I could weep as sadly; turbulent pleasures always violently recoil on my spirits. As for Clemens [Brentano, her brother], pray thank him for his complaisance; with regard to the Cantata, the subject is not important enough for us here--it is very different in Berlin; and as for my affection, the sister engrosses so large a share, that little remains for the brother. Will he be content with this?
Now farewell, my dear, dear friend; I imprint a sorrowful kiss on your forehead, thus impressing my thoughts on it as with a seal. Write soon, very soon, to your brother,
BEETHOVEN.
[Footnote 1: An expression which, as well as many others, he no doubt borrowed from Bettina, and introduced to please her.]
68.
TO ZMESKALL.
1811.
I am disposed to engage a man who has just offered me his services,--a music-copyist. His parents live in Vienna, which might be convenient in many respects, but I first wish to speak to you about the terms; and as you are disengaged to-morrow, which I, _alas_! am every day, I beg you will take coffee with me in the afternoon, when we can discuss the matter, and then proceed from _words to deeds_. We have also the honor to inform you that we intend shortly to confer on you some of the decorations of the Order of our Household,--the first class for yourself, the others for any one you choose, except a priest. We shall expect your answer early to-morrow. We now present you with some blotches of ink. Your
BEETHOVEN.
69.
TO ZMESKALL.
1811.
MOST HIGH-BORN OF MEN!--
We beg you to confer some goose-quills on us; we will in return send you a whole bunch of the same sort, that you may not be obliged to pluck out your own. It is just possible that you may yet receive the Grand Cross of the Order of the Violoncello. We remain your gracious and most friendly of all friends,
BEETHOVEN.
70.
TO THE ARCHDUKE RUDOLPH.[1]
The Spring of 1811.
YOUR ROYAL HIGHNESS,--
As in spite of every effort I can find no copyist to write in my house, I send you my own manuscript; all you have to do is to desire Schlemmer to get you an efficient copyist, who must, however, write out the Trio in your palace, otherwise there would be no security against piracy. I am better, and hope to have the honor of waiting on you in the course of a few days, when we must strive to make up for lost time. I always feel anxious and uneasy when I do not attend your Royal Highness as often or as assiduously as I wish. It is certainly the truth when I say that the loss is mine, but I trust I shall not soon again be so unwell. Be graciously pleased to remember me; the time may yet come when I shall be able to show you doubly and trebly that I deserve this more than ever.
I am your Royal Highness's devoted servant,
LUDWIG V. BEETHOVEN.
[Footnote 1: Schlemmer was for many years Beethoven's copyist.]
71.
MY DEAR FRIEND,--[1]
I have taken this trouble only that I might figure correctly, and thus be able sometimes to lead others. As for mistakes, I scarcely ever required to have them pointed out to me, having had from my childhood such a quick perception, that I exercised it unconscious that it ought to be so, or in fact could be otherwise.
[Footnote 1: Written on a sheet of music-paper (oblong folio) numbered 22, and evidently torn out of a large book. On the other side (21) is written, in Beethoven's hand, instructions on the use of the fourth in retardations, with five musical examples. The leaf is no doubt torn from one of the books that Beethoven had compiled from various text-books, for the instruction of the Archduke Rudolph. I have therefore placed Beethoven's remark here.]
72.
TO THE DRAMATIC POET TREITSCHKE.
June 6, 1811.
DEAR TREITSCHKE,--
Have you read the book, and may I venture to hope that you will be persuaded to undertake it? Be so good as to give me an answer, as I am prevented going to you myself. If you have already read it, then send it back to me, that I may also look over it again before you begin to work at it. Above all, if it be your good pleasure that I should soar to the skies on the wings of your poetry, I entreat you to effect this as soon as possible.
Your obedient servant,
L. V. BEETHOVEN.
73.
TO ZMESKALL.
Sept. 10, 1811.
DEAR ZMESKALL,--
Let the rehearsal stand over for the present. I must see my doctor again to-day, of whose bungling I begin to tire. Thanks for your metronome; let us try whether we can measure Time into Eternity with it, for it is so _simple_ and _easily managed_ that there seems to be no impediment to this! In the mean time we will have a conference on the subject. The mathematical precision of clockwork is of course greater; yet formerly, in watching the little experiments you made in my presence, I thought there was something worthy of notice in your metronome, and I hope we shall soon succeed in _setting it thoroughly right_. Ere long I hope to see you.
Your friend,
BEETHOVEN.
74.
TO ZMESKALL.
Oct. 26, 1811.
I shall be at the "Swan" to-day, and hope to meet you there _to a certainty_, but don't come too late. My foot is better; the author of so many poetical _feet_ promises the _head_ author a sound foot within a week's time.
75.
TO ZMESKALL.
Nov. 20, 1811.
We are deucedly obliged to you. We beg you to be careful not to lose your well-earned fame. You are exhorted to pursue the same course, and we remain once more your deucedly attached
LUDWIG VAN BEETHOVEN.
76.
TO ZMESKALL.
Jan. 19, 1812.
I shall be at the "Swan" to-day, dear Z. I have, alas! _too much_ leisure, and you _none_! Your
BEETHOVEN.
77.
TO ZMESKALL.[1]
1812.
CONFOUNDED LITTLE QUONDAM MUSICAL COUNT!
What the deuce has become of you? Are you to be at the "Swan" to-day? No? ... Yes! See from this enclosure what I have done for Hungary. When a German undertakes a thing, even without pledging his word, he acts very differently from one of those Hungarian Counts, such as B. [Brunswick], who allowed me to travel by myself--from what paltry, miserable motive who can tell?--and kept me waiting, though he did not wait for me!
My excellent little quondam musical Count,
I am now, as ever, your attached
BEETHÖVERL.
Return the enclosure, for we wish to bring it, and something else, pretty forcibly under the notice of the Count.
[Footnote 1: The date of this and the following note is decided by the allusion to his compositions written for Hungary (Pesth). See the subsequent letter to Varenna.]
78.
TO ZMESKALL.
You are summoned to appear to-day at the "Swan;" Brunswick also comes. If you do not appear, you are henceforth excluded from all that concerns us. Excuses _per excellentiam_ cannot be accepted. Obedience is enjoined, knowing that we are acting for your benefit, and that our motive is to guard you against temptations and faithlessness _per excellentiam--dixi_.
BEETHOVEN.
79.
TO ZMESKALL.
DEAR ZMESKALL,--
The well-known watchmaker who lives close to the Freiung is to call on you. I want a first-rate repeater, for which he asks forty ducats. As you like that kind of thing, I beg you will exert yourself on my behalf, and select a really good watch for me.
With the most enthusiastic admiration for a man like yourself, who is soon to give me an opportunity of displaying in his favor my particular knowledge of horn-playing, I am your
LUDWIG VAN BEETHOVEN.
80.
TO KAMMERPROCURATOR VARENNA,--GRATZ.[1]
1812.
If the wish to benefit the poor were not so evident in your letter, I should have felt not a little offended by your accompanying your request to me by the offer of payment. From my childhood, whenever my art could be serviceable to poor suffering humanity, I have never allowed any other motive to influence me, and never required anything beyond the heartfelt gratification that it always caused me. With this you will receive an Oratorio--(A), the performance of which occupies half an evening, also an Overture and a Fantasia with Chorus--(B). If in your benevolent institution you possess a _dépôt_ for such things, I beg you will deposit these three works there, as a mark of my sympathy for the destitute; to be considered as their property, and to be given at any concerts intended for their sole benefit. In addition to these, you will receive an Introduction to the "Ruins of Athens," the score of which shall be written out for you as soon as possible. Likewise a Grand Overture to "Ungarn's erste Wohlthäter" [Hungary's First Benefactors].
Both form part of two works that I wrote for the Hungarians at the opening of their new theatre [in Pesth]. Pray give me, however, your written assurance that these works shall not be performed elsewhere, as they are not published, nor likely to be so for some time to come. You shall receive the latter Grand Overture as soon as it is returned to me from Hungary, which it will be in the course of a few days.
The engraved Fantasia with Chorus could no doubt be executed by a lady, an amateur, mentioned to me here by Professor Schneller.[2] The words after the Chorus No. 4, in C major, were altered by the publishers, and are now quite contrary to the musical expression; those written in _pencil_, therefore, on the music must be sung. If you can make use of the Oratorio, I can send you _all the parts written out_, so that the outlay may be less for the poor. Write to me about this.
Your obedient
LUDWIG VAN BEETHOVEN.
[Footnote 1: The correspondence with Varenna, consisting of fourteen letters and four notes, was purchased some years ago by a collector of autographs in Leipzig, and sold again by public auction, probably to different persons. It would be like pursuing leaves scattered by the wind to try to recover these letters. Those here given have for the most part appeared in newspapers; I cannot, therefore, be responsible for the text, farther than their publication goes, which, however, has evidently been conducted by a clever hand. The date of the first letter is to be gleaned from the second, and we also learn from them that _The Ruins of Athens_ and _King Stephen_ (or at all events the Overture) were already finished in January, 1812.]
[Footnote 2: This _dilettante_ was Mdlle. Marie Koschak, subsequently the wife of Dr. Pachler, an advocate in Gratz, from whom two letters are given by Schindler of the dates of August 15th, 1825, and November 5th, 1826, in which she invites Beethoven to visit her in Gratz. Schindler considers as applicable to this lady the words of a note in Beethoven's writing of which he has given a fac-simile in his _Biography_, I. 95; the date 1817 or 1818. They are as follows:--"Love alone, yes! love alone can make your life happier. O God! grant that I may at last find her who can strengthen me in virtue, whom I can legitimately call my own. On July 27th, when she drove past me in Baden, she seemed to gaze at me." This lady also plays a friendly part in Franz Schubert's _Life_. See her _Biography_ by Dr. Kreissle.]
81.
TO ZMESKALL.
Feb. 2, 1812.
By no means _extraordinary_, but _very ordinary_ mender of pens! whose talent has failed on this occasion (for those I send require to be fresh mended), when do you intend at last to cast off your fetters?--when? You never for a moment think of me; accursed to me is life amid this Austrian barbarism. I shall go now chiefly to the "Swan," as in other taverns I cannot defend myself against intrusion. Farewell! that is, _fare as well_ as I wish you to do without
Your friend,
BEETHOVEN.
Most wonderful of men! We beg that your servant will engage a person to fit up my apartment; as he is acquainted with the lodgings, he can fix the proper price at once. Do this soon, you Carnival scamp!!!!!!!
The enclosed note is at least a week old.
82.
TO ZMESKALL.
Feb. 8, 1812.
Most extraordinary and first and foremost man of the pendulum in the world, and without a lever too!!!
I am much indebted to you for having imparted to me some share of your motive power. I wish to express my gratitude in person, and therefore invite you this morning to come to the "Swan,"--a tavern, the name of which itself shows that it is a fitting place when such a subject is in question,
Yours ever,
BEETHOVEN.
83.
TO VARENNA,--GRATZ.
Vienna, Feb. 8, 1812.
Herr Rettich has already got the parts of the Oratorio, and when you no longer require them I beg you will send them back to me. It is not probable that anything is wanting, but even in that case, as you have the score, you can easily remedy this. I only yesterday received the Overtures from Hungary, and shall have them copied and forwarded to you as soon as possible. I likewise send a March with a vocal Chorus, also from the "Ruins of Athens." Altogether you will now have sufficient to fill up the time.
As these pieces are only in manuscript, I shall let you know at the time I send them what precautions I wish you to take with regard to the Overtures and the March with Chorus.
As I do not publish any new work until a year after its composition, and, when I do so, am obliged invariably to give a written assurance to the publisher that no one is in possession of it, you can yourself perceive that I must carefully guard against any possible contingency or casualty as to these pieces. I must, however, assure you that I shall always be disposed to show the warmest zeal in aid of your charity, and I here pledge myself to send you every year works that exist solely in manuscript, or compositions written expressly for this charitable purpose. I beg you will also let me know what your future plans are with regard to your institution, that I may act accordingly.
Farewell! I remain, with the highest consideration,
Your obedient
LUDWIG VAN BEETHOVEN.
84.
TO ZMESKALL.[1]
Feb. 19, 1812.
DEAR Z.,--
I only yesterday received the written information that the Archduke pays his share in the new paper-money of the full value [_Einlösungsschein_]. I beg you will write out for me, as nearly as you can, the substance of what you said on Sunday, and which we thought it advisable to send to the other two. I am offered a certificate that the Archduke is to pay in _Einlösungsschein_, but I think this unnecessary, more especially as the people about Court, in spite of all their apparent friendship for me, declare that my demands are _not just_!!!! O Heaven! aid me in enduring this! I am no Hercules, to help Atlas in carrying the world, or to strive to do so in his place. It was only yesterday that I heard the particulars of the handsome manner in which Baron von Kraft had judged and spoken of me to Zisius! But never mind, dear Z.! My endurance of these shameful attacks cannot continue much longer; persecuted art will everywhere find an asylum--Daedalus, though imprisoned in a labyrinth, found wings to carry him aloft. Oh! I too shall find wings!
Yours ever,
BEETHOVEN.
If you have time, send me this morning the draft of the memorial;--probably for nothing, and to receive nothing! so much time is already lost, and only to be kept in suspense by civil words!
[Footnote 1: The Finance Patent appeared in Austria in 1811, by which the value of money was depreciated by a fifth. This also affected the salary that Beethoven drew from the Archduke Rudolph, Prince Kinsky, and Prince Lobkowitz. The first of these gentlemen paid his full share in _Einlösungsschein_. Lobkowitz, at the request of Beethoven, soon after did the same; with Kinsky's share alone difficulties arose subsequently, owing to his death.]
85.
TO VARENNA.
Lent, 1812.