BEETHOVEN 200 YEARS AGO TODAY: Friday, May 26, 1826

The current housekeeper tells Beethoven that she knows both of the prospective housekeeper candidates that are under consideration. One of them cannot cook but the other cooks well. Karl joins his uncle as promised yesterday.

Beethoven makes a note “No 5 Carp,” which is followed by some calligraphic doodling by Karl. Karl complains about the meat; it used to be better but today it is too fatty. However, it is better than they have sometimes had it.

The first housekeeper candidate arrives, and she attempts to write her address in the conversation book, but she is barely literate and Beethoven cannot understand what she writes. The current housekeeper interprets for him that she lives in the Keiserstrasse. Karl and the housekeeper presumably conduct the interviews since the candidates only note their living situations.

A second housekeeper candidate, probably named Elise Seidl (born 1801), also comes to be interviewed. She lives in the house in the Alstergasse managed by Frau Wich.

Uncle Ludwig observes to Karl that the biggest demand and the biggest financial reward seems to be for him to write an opera. Karl suggests that he could do so. Ludwig doesn’t have any vocalists in particular to write for, though. Karl is unconvinced; he doesn’t write his piano works for any particular player either.

The prospective housekeeper (likely Elise Seidl) probably should have a cooking trial, Karl thinks. Cooking is the main thing that Uncle Ludwig needs these women for. She has a recommendation, but that’s not proof she can cook. In her favor, “She spoke sensibly, and also Frau Schlemmer liked her.”

Yet another housekeeper is coming to see Karl later today. He will ask her to come to see Uncle Ludwig tomorrow or the day after tomorrow. Also the kitchen maid. Ludwig invites Karl to stay for dinner, but he begs off. “I do not need anything to eat, I am used to eating late.”

There is a conversation that appears to be genuine between Beethoven and former unpaid assistant Anton Schindler about today. After Beethoven’s death, Schindler made a note here, “Conversation in the street,” but given the context, that description seems dubious. It’s also possible that this conversation, which fills a single page, was entered on another date and Karl wrote around it. In any event, Schindler needs an answer from Beethoven about Kanne’s libretto to May Night, which the Kärntnertor Theater is suggesting be the basis of a new opera. Beethoven is noncommittal. Schindler responds, “You have to decide soon, so that we can come to terms over the libretto [with Kanne].” Beethoven sees problems with the libretto’s edgy nature. Schindler acknowledges, “Kanne’s fault is that whenever he wants to be witty and funny, he becomes nasty, which he has demonstrated in every libretto.” Beethoven questions whether Kanne, being a composer himself, would not want to write the music as well? Schindler thinks that perhaps he would do without it, if he could be sure Beethoven would give it the proper attention. “I suppose that, however, it is more important for him to know that you are really going to write it.” Beethoven promises to give Schindler his answer soon.

Nephew Karl suggests that if his uncle would like to go into the City, perhaps to a beer house or somewhere else, after 3 o’clock, Karl would come along, because it is a long ways to walk back and forth twice a day. Ludwig asks where Karl would like to go. He suggests the Zur Eiche [At the Sign of the Oak] beerhouse run by Leonhard Wanner, on the Brandstatt. Uncle Ludwig apparently declines, because Karl’s entries stop here.

Conversation Book 110, 41v-43v; Conversation Book 111 4r-4v.

In London, Carl Maria von Weber premieres his final composition, the Song of Nurmahal, “From Chindara’s Warbling Fount I Come,” J.308, to words of Thomas Moore from Lalla-Rookh, in the Argyll Rooms. The composer is too ill to finish writing out the accompaniment, so he improvises it as the song is performed by soprano Catherine Stephens. Ignaz Moscheles will later write down what he remembers of Weber’s extemporizing. His Jubel-Overture is also performed. After the concert, Weber collapses onto a sofa and a mustard plaster is placed on his chest. Weber will make one more public appearance before his death. This benefit concert netted him only 96 pounds 11 shillings.