BEETHOVEN 200 YEARS AGO TODAY: Friday, July 15, 1825

Beethoven is in Baden and writing letters today. Three of them, plus another draft, are directed to Nephew Karl. Later, Karl Holz comes to visit Beethoven in Baden, and they discuss composers, including Mozart.

The first letter begins with a musical repeat sign enclosing “Come soon!”, with the note that it should be repeated three times. “My dear son! Be that – bring the letter from G. [Galitzin] again. I have hardly read it myself. — The day before yesterday, Sig. Fratello [Brother Johann] with his H. brother-in-law [Leopold Obermayer] – what a wretched man – the old witch [housekeeper Barbara Holzmann] who forgot something again yesterday, is bringing you the answer about his brother-in-law’s book. If you still don’t find any certainty about it in the answer, then send this letter to the wretch at once. – If Cato cried out against Caesar, ‘This one and we, what can one do against such a person?’ I’ll leave the letter – the day after tomorrow will be soon enough. It is getting too late. I will put my loving seal on your love, loyalty, and devotion to me – if you fail to do so, remain so – as always, your loving, caring, Father.”

Brandenburg Letter 2007; Anderson Letter 1396. The original is held by the Biblioteka Jagiellonska in Krakow, Poland (Mus. ep. autogr. Beethoven 38). The letter from Galitzin mentioned is probably the lost one, since Galitzin’s letter of June 21 would not have yet arrived.

About now, or possibly yesterday, Beethoven begins drafting a letter to publisher Adolf Martin Schlesinger in Berlin. Schlesinger, in addition to publishing several Beethoven works, was responsible for the Berliner allgemeine musikalische Zeitung. In the conversation book, Beethoven writes ideas for a draft letter, which he appears to have written out separately in rough form.

Beethoven then gives up and writes to Karl, asking him to write the letter, enclosing the draft. “Dear son! You can see everything from the enclosed documents.– Write this letter to Schlesinger: ‘To be delivered to Schlesinger in Berlin, in the Schlesinger art and bookstore.’ You can make some things better understood than I can. I believe that one could go to 80 [ducats for the new quartet], but don’t you think so? If it is necessary?! wait with the letter to Galitzin, but take care of the one to Schlesinger on Saturday [tomorrow, July 16th] – you will have received the package by now.” [This comment suggests that Ludwig had previously given Karl his July 8 draft of a letter to Galitzin to have it reworked and translated into French.]

“I ask you to bring me some Balbier soap, and at least a couple of Balbier knives. [Shaving soap and razors.] The grinder here also has six. Here are 2 florins, if there’s anything to pay in the way of housekeeping, because you always get too much money.”

“In vain, a Viennese remains a Viennese. I was glad of how I could help my poor parents. What a difference there is in comparing you to me, careless one. Farewell, your faithful father.”

He adds a postscript: “Bring the newspaper with you again. This time you have a lot to do, and you probably should write before Sunday to the Miserablatzin [Beethoven first wrote “Miserable,” then added the “atzin,” indicating he means Galitzin]. Don’t flatter him – he’s a weak patron – etc. I embrace etc. – not the best!”

Brandenburg Letter 2008; Anderson Letter 1400. The original is also held at the Krakow Bibltioteka Jagiellonska (Mus ep. autogr. Beethoven 34). Karl doesn’t get the letter to Schlesinger written until July 19th (Brandenburg Letter 2015). This letter was probably enclosed in Brandenburg Letter 2010, Anderson 1486, which contains Karl’s current address; letter 2008 has no address. In addition, in French Beethoven writes on it, “Do as you think best with this letter to S, to send it or not, depends entirely on what you think.” This document is held at the Ira F. Brilliant Beethoven Center at San Jose State University, IFBms3.

Beethoven writes a third letter to Nephew Karl today, this one dated with today’s date. “Dear son! In the letter to Schlesinger, it should still be added whether Prince Radziwill is in Berlin [so Beethoven knows where to send his copy of the Missa Solemnis and the dedication copy of the Name Day Overture op.115]. Regarding the 80 ducats, you can also write that it only needs to be paid in Convention [hard money] guilders at the rate of 4 florins 30 kreutzers to the ducat, however you will; I’ll leave that up to you, because it’s not too much for him, since he has England and France with him [as his markets]. Because of the bill of exchange for 4 months, you must also express yourself correctly. Mayseder received 50 ducats from Artaria for violin variations. By the way, always make it clear that my illness, etc., and circumstances force me to look more at my own benefit than usual. This is difficult for me to accept, but it must be.”

“How I feel when I find myself alone again amongst these people! The letter to my brother, make sure the book comes back, what a prank! I would also like to help my hearing as much as possible. There would be time here.”

“What unfortunate circumstances, such a brother! Alas, alas! Farewell, I embrace you from the bottom of my heart. Your faithful father.”

“Don’t miss anything, you must get by through getting up early in the morning. If it’s not possible, then don’t come on Sunday, just write then. Now, it’s not worth the effort anyway, since if you can come on Sunday, we can discuss everything.”

Brandenburg Letter 2009; Anderson Letter 1401. This letter is also at the Biblioteka Jagiellonska in Krakow, (Mus ep. autogr. Beethoven 35). The line about Prince Radziwill was in Beethoven’s original draft in the conversation book, but he must have forgotten to include it in the rough draft sent to Karl.

Violinist Karl Holz comes again to visit Beethoven today. They probably meet at a restaurant for mid-day dinner. Holz tells Beethoven that his jocular biography of Tobias Haslinger has been printed in Schott’s musical journal Cäcilia. He’ll send Beethoven a copy. He asks Beethoven how many issues he has. [There have only been a few, and Beethoven probably only has a copy of one.] Holz says he will send what he has through Nephew Karl.

There are said to be 3 canons by Beethoven in the new issue. One of them is the Hoffmann, sei ja kein Hofmann, WoO 180. Beethoven mentions a composition by Haslinger; Holz says that Haslinger had absolutely nothing to do with it; Anton Diabelli had set it together, and Haslinger printed it under his name. Holz then mentions the burning of Baden. [A fire destroyed much of Baden on July 26, 1812, and Beethoven had organized a benefit concert to aid the victims. This may explain what composition is being discussed; Haslinger dedicated the proceeds from his composition “The Fire in Baden: A Musical Sketch for Piano” to the same charitable effort.]

Ignaz von Seyfried, kapellmeister of the Theater an der Wien, also comes up. “And then Seyfried with the painted notes! He is an unfortunate amateur; he loves music, but it doesn’t love him back,” jokes Holz. He has lived for music day and night, though.

The next subject of discussion is Mozart. Holz observes that Haydn considered Don Giovanni to be above everything. Beethoven mentions a theme from Mozart’s Requiem. Holz says that Haydn used the same theme much earlier as a fugal theme in a string quartet. [He here at 4r of Conversation Book 91 writes out four bars of the theme of the Finale from Haydn’s String Quartet in F minor, op.20/5, Hob.III/35.] “But he composed very industriously. If only he could be resurrected today and hear your Symphonies!” Beethoven questions whether Mozart would understand them. Holz concedes, saying, “At the beginning, people were of the opinion that his first six Quartets were not correct at all.” Beethoven, from experience with op.127 and other works, feels that what he produces is often not understood until much later. Holz acknowledges this is the case, “The best one will never be repaid a hundredth part of what it deserves.”

Beethoven asks whether Holz would like to stay with him at the Schloss Gutenbrunn. Holz says he has already arranged for lodgings at the hotel Zum schwarzen Adler in Baden.

Holz brings up a familiar comical anecdote about Mozart encountering Leopold Kozeluch outside the City gates. [Holz does not actually relate the anecdote, in which they are discussing the premiere of a new Haydn Quartet. Kozeluch tells Mozart, “I wouldn’t have done it that way.” Mozart responds, “Neither would I. But do you know why? Because neither you nor I would have had the inspiration to do it.” Although Beethoven considered Kozeluch a “Miserabilis,” several Kozeluch compositions have been misidentified over the years as being Beethoven works, such as the piano dances WoO Anh.8.]

Beethoven makes a reference to that time period of the late 1780s, when he first came to Vienna to study under Mozart. Holz says, “At that time, when Martini [Spanish composer Vicente Martîn y Soler, 1754-1806] ruled, pretty much the same way that Rossini does today.” [Martini was a popular composer of operas, in Vienna from 1785-1788; Mozart parodied Martini’s Una cosa rara in the banquet scene of Don Giovanni.] Beethoven calls Rossini a thief of melodies. “Rossini has heard more, and therefore has stolen more.” Holz then quotes the opening three bars of the Overture to Elisabetta, regina d’Inghilterra at 5r of the conversation book.

Holz considers Rossini to be a skilled master builder, but he is not inspired. His things are thoroughly worked out.

Holz laments that Beethoven doesn’t have all his books with him. [Many of them are in storage at Leopold Obermayer’s building where Johann lives.] Holz comments that Beethoven’s famous Broadwood piano is said to be extraordinarily loud. Beethoven has it here with him in Baden. Holz says he hasn’t seen it yet.

Holz mentions that Ignaz Schuppanzigh, leader of the Schuppanzigh Quartet of which Holz is a member, considers John Field (1782-1837), an Irish piano virtuoso, plays even better than Johann Nepomuk Hummel (1778-1837).

[The page at the Beethovenhaus BH 53 25-26 appears to be torn out at this point, as it continues from the discussion of Schuppanzigh and other virtuosi.] “Skilled sons of Tubal-Cain, from whom come the violinists and fife players.” [Grita Herre points out that Holz is confusing Tubal-Cain, the progenitor of blacksmiths, with another son of Lamech, Jubal, from whom, according to Genesis 4:21 “the fiddlers and the fifers came.”]

Holz departs, heading for the Adler where he will spend the night, and then presumably returning to Vienna the next day or so. This warm and friendly conversation marks the beginning of a fairly close relationship between Holz and Beethoven, which will turn into Holz becoming another of Beethoven’s unpaid assistants.

Beethoven writes under Holz’s last comment, upside down, “Con intimo sentiment / pieno di sentiment” [“With intimate sentiment / full of sentiment.” This is an idea for the last Molto adagio in the Heiliger Danksgesang of the op.132 string quartet. The final language is “Mit innigster Empfindung (Con intimissimo sentimento)”]

Beethoven goes to a coffeehouse after Holz’s departure, and makes a copy of an advertisement from the Intelligenzblatt supplement of yesterday’s Wiener Zeitung (Nr.158) at 1004, for a new odorless toilet chair.

Conversation Book 91, 2r-5v; Beethovenhaus BH 53 25-26, transcribed by Grita Herre. Our thanks to frequent contributor Birthe Kibsgaard for pointing out the removed leaf and suggesting its placement.