BEETHOVEN 200 YEARS AGO TODAY: Friday, February 11, 1825

Beethoven received Ferdinand Ries’ letter about three days ago, requesting a copy of the Ninth Symphony to be performed at the Lower Rhenish Music Festival in May. He responds today, dictating to Nephew Karl: “Dear Ries! You insist so on an answer that I can only tell you the bare minimum at this moment. I already knew from Kirchhoffer that you had left London. My situation was so urgent that I hardly have had time to write you. Kirchhoffer took the symphony, which certainly cannot be published before the end of summer. These current sales are only preliminary; the time that the London Philharmonic Society has stipulated [for their exclusive rights in the work] will be observed to the letter. Bremen never received it, nor did Paris, as someone has written from London. What must one not endure, when one has the misfortune of becoming famous!”

“Now, to your wishes! I will be happy to indicate for you the tempi of Christ on the Mount of Olives to you using the metronome, however shaky this determination of tempo may be. As far as the symphony is concerned, I will make you a more general suggestion. My situation is that I have to find a way out of my difficulties [Nöthen] through my notes [Noten.] Would it not be possible for you to arrange things like this? I can send you the symphony in my score, or a well-copied one; in addition to this, the Mass in full score, and the Overture that I wrote for the Philh. Society. I could also give several small pieces for orchestra and choir. This would enable that society to give 2-3 concerts instead of one Akademie. Perhaps 40 Carolines would not be too much for that. I leave the matter to you. The concept for this does not come from me, but from those who would like to rescue me from my difficulties with my notes.”

“I take the most heartfelt interest in your property in Godesburg; no one could be more envious of it than I, whose highest wishes would be fulfilled by having such a property. But it seems that my destiny is not exactly what I would wish it to be. Give my best regards to your old father. I am extremely pleased about his good fortune; I embrace you warmly and hope to be able to write to you soon. As always, your true friend, Beethoven.” He adds as a postscript: “Write soon as well.”

Brandenburg 1935; Anderson 1351. The original is held in the Bonn Beethovenhaus (H.C. Bodmer Collection Br 202), and can be seen here:

https://www.beethoven.de/de/media/view/6291440858562560/scan/0

Ries had left London on July 9, 1824, and arrived with his family in Godesberg near Bonn on July 14, where he lived for about three years. He had purchased a house there from his father, Franz Anton Ries. Beethoven had granted the London Philharmonic Society an exclusive period of 18 months for the Ninth Symphony, but at some point he seems to have forgotten the terms of the deal and has been treating the period of exclusivity as being only 12 months. The letter is addressed to “Ferdinand Ries, famous composer in Bonn (on the lower Rhine.)”

Later today, Nephew Karl comes to Beethoven’s apartment, probably with Brother Johann. Copyist Ferdinand Wolanek is supposed to come today at 3 o’clock. He was sick. The last sheets can be copied either at Johann’s place or here. [This was a measure to prevent unauthorized distribution by the copyist; Beethoven did not entirely trust Wolanek. If Wolanek does come today, he does not write in the conversation book. He is probably working on another of the subscription copies of the Missa Solemnis, which he has been doing regularly for the last few months, and now is being engaged by Johann to make a copy of the score of the Ninth Symphony for Ries.]

A worker comes to the apartment. [It is unclear what they are doing; the word used might be a locksmith or a metawlorker or tinsmith. It’s possible that the Beethovens change the locks every time they change servants, which would be a very expensive proposition given how often that occurs.]

Ludwig is unsure which copy should go to the recipient. Karl suggests that they all be proofread, and Uncle Ludwig should keep the best one! Below this, Karl writes the English word “manuscript” upside down on the page three times as a handwriting exercise.

They discuss Ludwig’s shares and the interest on them. Karl tries to explain percentages to his uncle without much success. After this, Karl writes another English calligraphic exercise, “yes, Sir. Yes.” as seen in the attached detail of Conversation Book 84, 33r.

Brother Johann brags that the wine he makes is better than the wine Ludwig pays 3 florins for. “At my estate [in Gneixendorf] you have 10 rooms in the 1st and 2nd stories [2nd and 3rd American] with the most splendid views of the mountains and the Danube.”

There is an issue with the laundry. The new housekeeper says the prior one collected too much wash, and there wasn’t enough space to hang it out with the bed quilts. Johann thinks it would be better to have a washerwoman handle the laundry outside the house; “it will be whiter and it is also less expensive.” Johann mentions he saw an advertisement from a woman seeking a position as a housekeeper two days ago in the Wiener Zeitung, who might be appropriate. [There was such an ad in the February 9 Zeitung that indicated in part, “A woman who can provide documents concerning her morality and honor wishes to find employment as a housekeeper in the residence of a mature and established gentleman.”]

Conversation Book 84, 32v-33v.

The two newest of Franz Schubert’s lieder to be published, Die zürnende Diana [To the Angry Diana], und Nachtstück [Night Piece] op.36 (today catalogued as D.707 and 672, respectively) are announced today. Text for both songs is by Johann Baptist Mayrhofer. The advertisement by Cappi & Co. in today’s Wiener Zeitung (Nr.33) at 147 says, “The excellence of Schubert’s songs is already so generally recognized that they hardly need any more recommendation. The publisher has selected the two songs presented here from the numerous tone poems of this brilliant composer, which have already received full recognition and well-deserved distinction in several of the most select private circles through the classical performance of the retired Imperial and Royal Court Opera Singer Mr. Vogl, who is the luminary of German singing. [Johann Michael Vogl (1768-1840) was a friend and supporter who also handled Schubert’s estate after his death.] The publisher therefore flatters itself that it is bringing a welcome gift to all friends of the art of the Fatherland.” Cappi also offers the recent set of Sixteen German Dances and Two Ecossaises for piano, op.33 by Schubert (D.783).

Among other works promoted by Cappi in this same advertisement is the newly-published Capriccio à la Fuga for piano, op.89 by Beethoven’s former pupil, Carl Czerny. This work heavy on counterpoint is played here by Martin Jones: