BEETHOVEN 200 YEARS AGO TODAY: Thursday, January 20, 1825
The first public announcement of Beethoven’s new quartet, op.127, is given today in the Theaterzeitung, Nr.9 at 36. “Musical Notice. The famous composer Herr Schuppanzigh, whose excellent achievements have often been discussed in these pages with well-deserved distinction, and who is increasingly establishing his reputation in the musical world, will, as already reported in Nr.7 [the January 15, 1825 issue] continue his popular quartet entertainments in the small hall of the Musikverein, near the Red Hedgehog. The first begins on Sunday, January 23rd; the most excellent pieces of music included are: The new, famous Double Quartet by Louis Spohr, as an introduction; a newly composed Quintet [sic] by Ludwig van Beethoven (still in manuscript form); and to conclude, by popular request, the most laudably well-known and popular Septet by the same composer. Subscription tickets and entrance tickets for each individual performance are available daily at the usual prices in the art shop of Herr Steiner & Co. (Paternostergäßchen am Graben). The selection of the best and newest compositions and the excellent applause that this esteemed virtuoso has enjoyed at each of his concerts guarantees him a favorable reception and promises enjoyment for music lovers.” [Thayer/Forbes suggests at 938 that Schuppanzigh rushed this announcement into print since he knows that Beethoven could easily change his mind. He was correct in being wary, for Beethoven will do exactly that, and only the fact it has been publicly announced will cause Beethoven to relent.]
Beethoven is not aware of this notice when he has mid-day dinner with violinist Ignaz Schuppanzigh today, but the premiere of the op.127 quartet is the principal topic of conversation. Beethoven starts off by telling Schuppanzigh that he knows he said that Schuppanzigh’s ensemble could have the premiere of the quartet, but that Joseph Linke [who also acts as the cellist for the Schuppanzigh Quartet] has asked (through Brother Johann) for the quartet to be included in his Akademie concert he is giving for his own benefit. [Karl’s comments a few days ago indicate that Linke is in poor financial condition and very much needs the money.]
Schuppanzigh naturally is displeased but not all that surprised. “That’s a damnable story about the Quartet.” But he still wants the premiere. Beethoven can also give it to Linke afterwards, since “one can surely hear your music more often than once.” Beethoven tries to hold firm about letting Linke have the premiere, but Schuppanzigh says, “I surely wouldn’t have any objection to it, if it weren’t already in the newspapers. Beethoven asks him to retract the announcement, but Schuppanzigh says it is too late and he cannot do so.
Annoyed, Beethoven asks why Schuppanzigh and Linke didn’t work this out between themselves rather than putting him in the middle of it. “Linke didn’t say a word about it. If he had told me, I wouldn’t have approached you about it.” Beethoven asks why he didn’t tell Linke that they would be playing the quartet as part of Schuppanzigh’s concert series then. “I myself said so to Linke, and he didn’t say a word about it.” Schuppanzigh, knowing Beethoven well, goes on, “But you most certainly did not promise it to him, because that is not your custom. Maybe you gave him half an assent but that is still no solemn promise.”
Beethoven asks again whether Linke had not said anything to him about this quartet. Schuppanzigh tells him, “I remember that Linke spoke to me of an A-minor Quartet, which is to contain concertante elements for the violoncello.” [This is a pretty accurate description of op.132, which Beethoven had actually started working on before beginning op.127.] “It is no shame if you also give the quartet to him. He has a salaried job, though, while I don’t have one at all.” [Linke had been principal cellist at the Theater an der Wien; while Schuppanzigh was named to an orchestra position, but is only an “Expectant,” who can claim the next opening, but is not yet under salary.] Beethoven asks what is salary is, and Schuppanzigh tells him 300 florins. That’s not very much, Beethoven responds, and Schuppanzigh says he also has to pay Linke well for his work with the quartet. Beethoven concedes that Schuppanzigh can have the premiere.
Schuppanzigh concludes this discussion by saying that “If Linke comes, just tell him that you are also giving it to him, and nothing further.” Beethoven is a little out of sorts, but Schuppanzigh assures him that Linke will still earn something from it. Beethoven asks how to get the parts to Schuppanzigh, and he says that Beethoven should use a courier.
Beethoven mentions that the money has arrived from Prince Galitzin, who had commissioned the quartet op.127. Schuppanzigh asks where. Beethoven says it came through Count Ludwig von Lebzeltern (1774-1854), the ambassador to the Russian court. Schuppanzigh, who had spent years in Russia, says he knows all the cabinet couriers, so when he learns one is departing for Russia, he’ll let Beethoven know so the quartet can be sent securely to Galitzin. Schuppanzigh also talks a bit about the other ambassadors in St. Petersburg.
As Schuppanzigh leaves, he cautions Beethoven to tell his brother Johann to be silent about all this, knowing his penchant for gossip.
This afternoon it is snowy in Vienna, and cloudy in the evening, according to the January 22 Wiener Zeitung at 76. Beethoven goes out to a coffee house and jots down a couple ideas, perhaps for musical jokes or canons: “I am only….Little Tobias, a good little fellow…your stubborn spying, etc.”
Conversation Book 81, 23v-27v.