BEETHOVEN 200 YEARS AGO TODAY: Friday, April 7, 1826

Unpaid assistant Karl Holz visits Beethoven today, asking whether the proofs from Haslinger that he delivered yesterday were satisfactory. Two of the four are not, and Holz asks Beethoven what he should tell Haslinger. Beethoven makes a demand that Holz finds unreasonable (perhaps to completely re-engrave, or to turn the music over to another publisher), and Holz says Haslinger won’t do that anymore. Beethoven is furious that Haslinger has disregarded his instructions and wants to demand that the censor block the publication of the works [the March and Chorus op.114 and Tremate, empi tremate op.116] with these title pages. Holz tells Beethoven that if he wants to do that, Holz will deliver the letter to the censor, but it has to be today if possible; Haslinger said that he did not want to be delayed any longer. “Who would think that the titles still had not been corrected. I myself already saw 2 of them ready 6 weeks ago.”

Beethoven had a number of objections to the title page of the Terzet. The piano reduction of the Terzet as published has “Tromate, empi, tremate” [sic] as the title, which cannot have pleased Beethoven. The work is described on the title page as “TERZETTO ORIGINALE […] con accompagnamento di Cembalo“, which suggests that the anonymous piano reduction commissioned by Haslinger was the original version, and that the orchestral version, which is what Beethoven actually wrote, was only an arrangement of that piano version. Beethoven will mark up a copy of the piano reduction and make corrections to the score itself. The exemplar with Beethoven’s corrections, is held by the Music Library of the University and State Library in Darmstadt.

What Haslinger’s title page to the March and Chorus op.114 contained that so offended Beethoven as to call them “barbaric” is probably similar. The piano reduction of this work as originally published in 1822 described it as a “Solemn Processional March…set by LUDWIG VAN BEETHOVEN. 114th Work. Arranged for pianoforte four hands.” The 1826 version omits the statement that it is an arrangement, likewise suggesting that this reduction (also not by Beethoven, but probably corrected by him) was the original, and that the orchestral version was the arrangement.

Beethoven writes a short undated note to the Vienna Office of the Austrian Imperial Censor. The note is probably written today, given the urgency that Holz gives to it and Beethoven’s anger.

“Most Honorable Censor”

“There is a threat of publication of several of my works, in which, out of spite against me, they refuse to correct the errors I have pointed out. The inscriptions are of such a barbaric nature that they would cause shame. I therefore request the esteemed Censor to prevent these works from being announced until I have assured, with my signature, that these works will appear in the proper condition.”

Brandenburg Letter 2144; Anderson Letter 1479. This letter is known from a photocopy of the autograph, which was formerly held in the Benedictine Abbey in Gottweig. The censor acts quickly, and Beethoven’s order is issued by the Censor tomorrow.

Beethoven has mid-day dinner, and offers some to Holz, who says he is full. Holz continues, and asks whether Beethoven also sold Steiner the right to issue the Terzet, Tremate, empi tremate, with orchestral parts. The orchestral score and the piano reduction were sold to Steiner in 1815. But there is little to stop them from issuing the parts as well. Holz bemoans the lack of an effective copyright law: “As long as there is no law which forbids the publishing of works before they have received the vidi of the author, you won’t find any justice there. But he would have thought it better for Haslinger to part ways with Beethoven on good terms.

Holz asks whether one of his works [from the context, probably the Terzet, but also possibly what is now known as the Name Day Overture, op.115, but had been published by Haslinger a year ago simply entitled “Overture“] had its own title when Beethoven sold it. It did not. “You will soon see, as long as you did not add a title when you sold it, you will get wronged.” Holz asks who made the piano reduction of the Terzet. [It would be nice to know Beethoven’s answer, because that person remains unidentified to this day, but it was not the composer himself.] “It would have been better if the correct title had been written on the score at the start.” Holz would prefer to stay out of it, but he doesn’t want to look like he’s taking Haslinger’s side.

Beethoven complains that Holz discouraged him from taking action against Haslinger sooner; Holz admits that he was wrong to do so, but he did not do that out of some commitment to Steiner. There’s no reason for him to do that; he simply thought it would be better for Beethoven not to cause hard feelings. But now they must waste no more time, and he will go to the censor at once with the letter. Holz did not believe they would be so stupid or evil. “What devil would think of such treachery? Now I see everything clearly. Now I see why Steiner denied having the corrected titles. God forbid! Do not believe that I ever had any business with them; all the misfortune of the case is that I once again believed people to be better than they seem to be.” Holz suggests it would be better if Beethoven came with him to the Censor, but Beethoven does not go.

Mathias Artaria is desperate for the Lieder that Beethoven had promised him. “Artaria asks you for God’s sake to find the Lieder; he will pay you well for them.”

Beethoven doesn’t want to do that, but decides that they should visit Conrad Graf’s shop and inspect his pianos. On the way, Beethoven recalls that a performance of the Ninth Symphony was held in Leipzig on March 6th of this year. Where did they get the parts, he wonders. Not from him. Holz agrees it deserves an answer; perhaps Schott’s let them have the parts? [In fact, that was exactly what happened. The June 28, 1826 review of the concert in the Berliner allgemeine musikalische Zeitung Nr.26 at 203 says, “Through the courtesy of the aforementioned publishing house [Schott’s], the directors of the orchestra also succeeded in obtaining the parts for these works—the score had not yet been printed.”] If the postage cost were not so high, they could inquire directly from Schott, and they could get to the bottom of this.

Beethoven asks Holz what the Head Censor’s name is; Holz replies “Sattory” [Franz Sartori (1782-1832). Beethoven had dealt with Sartori regarding the Akademie concerts of May 1824, when he needed permission to perform the Missa Solemnis in theaters under the title “Hymns.”]

At Graf’s workshop, Beethoven is shown around and sees unprocessed piano cases, one made from oak. He sees various experiments by Graf, including an attempt to see if the strings also sing behind the bridge, at Carl Czerny’s request; he wants to concentrate on the singing effect. Beethoven is offered a glass of wine while he tours the facility, but he turns it down. Beethoven checks in on the progress of work being done on his Broadwood piano. They have started working on the sound dome for it. One of Graf’s daughters catches Holz’s eye.

Instead of going to the Censor, Beethoven and Holz adjourn to the beer house Zur Eiche. Haslinger intends to move Steiner & Co. to the corner of the Paternostergassel, where the spice dealer currently is. Holz jokes (again in reference to the New Year’s Eve party at the Steiner Music Shop) that Haslinger will be taking over a larger beer-house. They drink downstairs in the non-smoking area; Holz comments that upstairs the smoke is too thick. Holz thinks that “One of Graf’s daughters is beautiful. I would like a father-in-law like that.” [Graf had two daughters, Karoline, born 1802, and Juliana, born 1806.]

Poet Franz Grillparzer comes to this tavern every day, but not until 10 o’clock. Holz appreciates that they have genuine Bavarian beer. Beethoven asks whether it is from Regensburg, but Holz is unsure on that point. He thinks the best Bavarian beer is in Straubing; in Munich the beer is just as bad as in Vienna. But at least everything in Vienna is well prepared. Holz asks why Beethoven refused the wine at Graf’s. Beethoven likely says that he is still trying to avoid wine under Dr. Braunhofer’s orders.

Beethoven asks about the proofs, and that they not be given back to Haslinger until the title page is resolved. Holz assures him that the corrected proofs will stay with him. He again asks that Beethoven accompany him to the censor. “I prefer it if you are there (It does not look so insulting either).” Beethoven is still furious about the implication that the piano reduction was the original work. Holz commiserates, “Presumably, Steiner deliberately did not want the public to know that the Terzett had been written out for full orchestra, in order to find more customers for the piano reduction; that is how I now explain to myself the reason why he denied that I had given him the corrected titles. I do not know of any case in which a reduction has been delivered before the original work was published. It is, properly speaking, very ridiculous.”

Holz wonders whether Haslinger will now take on another partner, since old Steiner is now retired. Haslinger does not speak French or Italian, which would seem necessary for his business. For that matter, “he does not speak German very well either. Languages are simply necessary, particularly if he wants to claim the first position here.” Steiner was the head of the music dealers; there has been some discussion with the Magistrate about giving this title to Haslinger. “The old bear is completely withdrawing to his cave.” [Steiner will retain the title of Head of the Committee of Art, Book, and Music Dealers until March of 1837.]

A woman [possibly Graf’s daughter that caught Holz’s eye] expressed an interest in the Conversation Book. Beethoven would like to know what she said about it; Holz said she asked if it is full already. This is an important question!

Beethoven orders some food. Holz reveals that today is obligatory fasting day, probably for his digestive issues, though that does not appear to stop him from drinking beer with Beethoven. The beer they’re having is good; it has a lot of hops.

Beethoven made Graf very happy today, Holz thinks. His keyboards have a unique character that is different from other keyboards.

Poet Franz Grillparzer joins the group, probably earlier than his usual 10 o’clock. He complains that the censorship has killed him. Holz suggests that he should go to North America, to be able to state the full scope of his ideas. “Recently I had the most unpleasant affairs with the police. Only because of some talk.” [Miniaturist Moritz Daffinger had while with Grillparzer insulted a military police guard, and he received a strict police reprimand for “immodest remarks.” See the portrait of Grillparzer by Daffinger below.]

Grillparzer is interested in what will happen with the Opera back under the control of Domenico Barbaja. Probably more Italian opera, Beethoven grouses. [Last time, Rossini had come to Vienna in 1822 with his new opera Zelmira.] Grillparzer optimistically thinks, “In the Theater an der Wien, separately, there might still be hope for German opera. And yet nothing of importance is written for the opera in Germany, except in Vienna. I think that people in Berlin like the accessories of opera more than the music itself.”

The dramatist asks Beethoven’s opinion of Weber’s opera Euryanthe. [What familiarity Beethoven has with it is unclear, since it appeared after Beethoven’s deafness was near total.] Grillparzer thinks it is more poetry than music. “The world has lost its innocence, and without innocence, one cannot create or enjoy a work of art. The motto of our days is criticism. Weber is a critical composer.”

Grillparzer thinks composers are lucky, since they have no censorship. “At the same time, all foreign writers are prejudiced against everything that comes from Austria. There is an actual conspiracy in Germany against the Austrian writers.” Even though his own works become less and less popular, Grillparzer is halfway in love with Austria. He asks whether Beethoven has read his tragedy Ottokar, which had been buried by the censors for over a year.

Grillparzer says he has the misfortune of being a hypochondriac, which explains a lot. “My own works do not make me happy. If only I had the thousandth part of your strength and firmness!” Grillparzer wonders whether Beethoven’s life ever intrudes on his composition: “Have there not been times at which events of life have interfered with your work? Love affairs, for instance?” Beethoven’s time seems to be all spent on replacing his servants.

Grillparzer appears to depart at this point, though Holz continues to talk about him. Beethoven asks what time it is, and Holz tells him 9:30 p.m. Their bar tab is 2 florins 22 kreutzers.

Holz says that the other housekeeper candidate that he was speaking to would be better; she at least had served as a housekeeper in Hungary. He asks whether he should send the one from Frau von Schneid? Holz doesn’t know the other one, but it is better to take one with a reference, since then you have a better idea what you are getting. “The maid always seems to think that she is important too; therefore, she threatens to leave with every third word, in order to get more money.”

For the rest of this long day, all of the entries in the conversation book are by Holz. Grillparzer’s biggest misfortune is that he is in love. He can’t move forward or back, and has been stuck here with Katharina Fröhlich, the “Eternal Bride,” for six years now.

Apparently Brother Johann and Karl were expected to join them, because Holz wonders what has kept Johann, and whether Karl is coming.

Beethoven complains that no one understands his recent works like the Ninth Symphony and the new quartets. Holz says, “The moaners will be silent within a year; a work of art will only be appreciated after 5 or 10 years.” Grillparzer with respect to Ottokar was burdened with absurdities he had never dreamed of. “For instance it was said that he had wanted to show off as an official and therefore had praised the Habsburgs; that brought about the structure of the piece! All Bohemians are moaning because he described them in the state in which they really were 700 years ago; they however saw it as a description of their present state.”

Holz toasts his evening table companions, and says the wine is good. “There is not a drop of Hungarian wine among them; that is an advantage.”

Grillparzer has too little firmness. “He wrote Die Ahnfrau [in 1816] in 14 days, and in many respects this is his best work. He can write quickly; the genius is there, but he cannot be delayed by anything.” However, he has his duties as an official. For him writing is more science than art. He used to get a salary of 1200 florins, but Court Councilor for Music Moritz von Dietrichstein demanded an annual work in return from him. Therefore, he gave up the salary, because he cannot produce like a machine.” Holz adds, “When you see things like that, you finally get to really value freedom.” Holz believes that Beethoven bolstered Grillparzer’s courage a little today during their conversation.

They make some dangerous remarks about Joseph Graf Metternich (1774-1830). He is the brother of Chancellor Metternich, and “he has no merit other than being his brother.” Grillparzer lives in fear, and is always dissatisfied with his own works as a result. “During the execution, one realizes how someone has climbed the highest mountain; and then behind him he sees another mountain even higher.” For that reason, Beethoven may not wish to think much about his earlier works. “However, I think that no one will come after Beethoven, like no one came after Raphael or Shakespeare; who can beat him.”

Holz settles up the bill; the change is 2 florins 18 kreutzers, and they go home.

Conversation Book 107 75v-93r.

Franz Schubert today petitions the Emperor to be named Vice-Musical Director of the Imperial Court Chapel. The vacancy arose because after Antonio Salieri retired as first court musical director in March of 1824, Joseph Eybler was named his successor in 1825. Eybler had previously held the Vice-Musical Director post, which thus had essentially been vacant for two years. Schubert notes that he is a native of Vienna, served as a boy-chorister of the Court at the Imperial and Royal Seminary, received instruction in composition from Salieri himself, has written five Masses, and “By his vocal and instrumental compositions his name has become favorably known, not only in Vienna, but throughout Germany…” Schubert’s request is eventually denied but not until early next year. Otto Deutsch: The Schubert Reader at 520-21