BEETHOVEN 200 YEARS AGO TODAY: Friday, September 2, 1825
Today’s very long discussions fill an entire conversation book, number 93. This book is comprised of 21 leaves (42 pages), and all pages contain writing. As a result, we have greatly condensed the conversations held today to avoid a book-length dissertation about this single day, but this will still be a significantly longer column than usual. We also will skip over most of the very many examples of puns and wordplay that most of the participants engage in. For example, the first entry is Holz writing, “He doesn’t do any business [Handel] with Händel.”
Mid-morning, as planned, unpaid assistant Karl Holz comes to visit Beethoven in Baden, along with publisher Tobias Haslinger and conductor Ferdinand Piringer. It seems very likely that Danish/German composer and Danish royal concertmaster Friedrich Kuhlau (1786-1832) is part of the party. However, he has been described by Gorm Busk, in Friedrich Kuhlau – En biografi og en kritisk analyse af hans musikdramatiske produktion, as a shy, unobtrusive and distant man, who did not speak much. He only writes very briefly in the conversation book, much later in the day. But Beethoven seemed to take an interest in this introverted man, who must have formed a sharp contrast to the raucous group that was present with him in Baden today. According to Ignaz von Seyfried in his 1832 book Ludwig van Beethoven’s Studien, Appendix at pp.25 ff., the party was assembled expressly so that Kuhlau, having been in Vienna since July 27 without meeting Beethoven, could make Beethoven’s personal acquaintance. They are later joined by others during this long day.
The first order of business is the new string quartet in A minor, op.132. Cellist Joseph Linke wants to give it at his concert planned for the beginning of October. They also intend to perform the Archduke Trio, op.97, but Linke cannot find a pianist he approves of. Carl Maria von Bocklet (1801-1881) might be an option; Linke feels that Carl Czerny “pounds more than he plays.”
The publication of the quartet is also a subject of discussion. Haslinger agrees that the consent of the composer should always be part of it. But Maurice Schlesinger is ready to publish it now, and since he is based in Paris and London, there is little under Austrian law that could be done about it.
The group goes for a walk, west toward the Helenenthal, past the new Weilburg palace and the ruins of Rauheneck castle and Rauhenstein castle. Since Kuhlau was, like Beethoven, a great lover of Nature, he probably was very pleased at this jaunt together.
The account of this long walk in Seyfried’s book (probably derived from Haslinger) is as follows: “Having barely arrived at Hygiea’s blessing healing spring and been welcomed with a strong handshake by the man awaiting the desirable visit, the cry ‘Away! Away! Out in the open‘ sounded after a short rest. Leading ahead was the bustling host and following the sprinter, not without effort, the urban clover leaf, whom the commander liked to passionately rush forward. All his favored places had to be visited and not necessarily following the most passable footpaths. Now they had to climb like chamois to the ruins of Rauhenstein and Rauheneck from whose tops the delighted eye as far as it was able to see watched the promised land outspread like an endless carpet; now the bold leader rushed down an almost vertical slope with the speed of a reindeer, grasping the members by a strong hand in order to fest abundantly on the other climbers’ anxiety about walking on slippery pebbles.” [Translation by Birthe Kibsgaard.]
During the course of their walk, they appear to stop at a wine house. Beethoven asks where the Cardinal [Archduke Rudolph] is; he has forgotten. Haslinger tells him that the Archduke is at Ischl, a spa near Gmunden [30 miles east of Salzburg.]
Haslinger is annoyed that now by decree even pieces of music without any text need to be sent to the Censor’s office for approval, probably because of their title pages and their dedications. He thinks it is very petty. There are about 20 censors.
Last year, Haslinger got good Vöslau wine here, but this year it is not so good. He suggests some evening they meet in Vienna at Haslinger’s and drink the good Vöslau wine. He still has a barrel of the white wine, which he got from the village of Mariabrunn.
Piringer makes a pun about Bach and Handel and baked chicken that is so bad Haslinger says he needs to walk back to Vienna on foot as punishment. Deciding not to have the baked chicken at a restaurant out in the country, they return to Baden for midday dinner.
Haslinger asks what is going on with the publication of the quartet op.132. Steiner has been bargaining with Brother Johann, but unfortunately not directly with the composer. Holz makes an obscure joke about forgetting to bring a rope to lead Haslinger to Baden.
Probably back in Baden, they are joined by amateur violinist Johann Nepomuk Fischer. The foursome wants to take Beethoven on an excursion to Trieste and Venice, using the express coach, for a three week holiday. Haslinger asks whether Beethoven has ever been out to sea; he has not.
Pages and pages of puns, especially on each other’s names, follow, which Beethoven probably enjoyed greatly. Piringer appears to leave the group to go back to Vienna, since he must conduct the Court service in the evening, and Fischer goes with him.
The remaining members of the party (Beethoven, Haslinger, Holz, and Kuhlau) stop at a restaurant, where Beethoven reads the newspapers while the other two converse among themselves. Beethoven copies down an advertisement for a volume in the Collection of Roman Classics edited by C. Corn, Tacitus Agricola in a new German translation and annotated by Dr. H.W.F. Klein. Beethoven also makes a note of a lithograph of the imperial salt mines near Salzburg, and an advertisement of a widow seeking employment as a housekeeper.
At leaf 10v, there was some blank space left, and Anton Schindler added remarks after Beethoven’s death to make it look like he was part of the party.
Haslinger mentions that the Coronation Waltzes celebrating the coronation of Empress Carolina Augusta as Queen of Hungary later this month will be published by Diabelli. [A number of composers, including Czerny, will write compositions celebrating the event.] Haslinger mentions that he gets to bathe in Baden for free, in recognition of his contribution of the proceeds of a composition, The Fire in Baden, in 1812.
Haslinger writes the first four notes of the canon “O Tobias, dominus Haslinger, o Tobias!” WoO 182, which Beethoven had sent him from Baden in 1821. He suggests that he will publish the three Equale for trombone quartet, WoO 30, which Beethoven had written in 1812 for Franz Xaver Glöggl (1764-1839), Kapellmeister of the Linz Cathedral.
Wenzel Würfel joins the group. [Würfel had been a professor at the Warsaw Conservatory and was good friends with the Chopin family, but young Chopin and his talents do not come up here.] He didn’t come over to pay his respects initially, because he is not very well known here, but Haslinger suggested that he do so.
Würfel had spoken to Czar Alexander I of Russia back in Warsaw about the dedication to him of the three violin sonatas op.30. [The Czar did not acknowledge the dedication, and only in 1815 did the Czarina provide 100 ducats to Beethoven.] Haslinger thinks that the dedication to him of a new work would be a gentle reminder not to be so delinquent. Würfel suggests that the Czar’s reply concerning the superb sonatas presumably came into the wrong hands. A few lines could be written directly to the Czar himself. Haslinger observes that Alexander is very well disposed towards grand works.
The group is drinking champagne, things become convivial and Beethoven gets a little tipsy himself. Würfel writes, “Herr von Beethoven loves joyous company, and this is all the more pleasant for me because I have a happy temperament.” Haslinger suggests that Mariabrunner white wine will be good for Beethoven, and he should have some of it brought round to his house right away.
Haslinger complains that George Joseph [Abbé] Vogler (1749-1814) sold the Trichordium [for four voices with orchestra] to his publishing house, although Johann André had already published it.
Oboist Joseph Sellner (1787-1843) also joins the group; Haslinger points out that he is from the Musikverein. He doesn’t get to overeat because of Count Palffy [who failed to pay the orchestra at his Theater an der Wien for months before absconding.] Sellner says that His Majesty told them yesterday that they will have Palffy’s head. Haslinger indicates Palffy is in bankruptcy.
Friedrich Kuhlau is directly engaged in conversation by Beethoven at this point, and Kuhlau mentions (through Haslinger) that they perform Beethoven’s Christ on the Mount of Olives and Mass in C quite excellently in Copenhagen. They will be performing Fidelio this winter. [Even though Kuhlau does not make a large number of entries in the conversation book, Beethoven clearly takes a liking to him.]
Piano maker Conrad Graf sees the festivities and takes part as well. He bought the inn At the Sign of the Moonlight in suburban Wieden, and turned it into a pianoforte factory. Graf intends to carry on the business as far as it will go.
Kuhlau here writes on 15v of the conversation book a four-voice riddle canon on the name BACH, (i.e., in German notation B-flat, A, C, B natural). Würfel notes that there are four keys in one, making it a puzzle to be solved, a riddle. [Kuhlau was well known for his facility in writing canons.]
In response, Beethoven writes in the conversation book at 16r the first draft of the canon making a pun on Kuhlau’s name, Kühl nicht lau (Cool, not lukewarm), on the notes similarly spelling out the name BACH, WoO 191 [see detail nearby. Although Beethoven will make a fair copy for Kuhlau and sends it to him via Holz tomorrow, that copy appears to be lost.]
Würfel, probably getting more than a little drunk, launches into a long description of his skills and the various Beethoven works he has performed, with a great deal of flattery. “In St. Petersburg, I conducted your Symphony in A major [Nr.7] and made myself generally beloved as your admirer, because I played all of your sonatas, and especially the Concerto in C [Nr.1] of yours in public before 4,000 people.”
“My first Akademie [concert in Vienna] will consist only of my playing your Concerto in C, and I want to awaken authentic musical taste with it, if God wills it, and he certainly will. Instruct me as you will, and I shall follow your instructions….I have always been your greatest admirer and want to perform all of the Beethoven piano works.” [Beethoven has apparently heard about Würfel making changes to his works, and suggests he play the concerto as he wrote it.] “I shall play it as it was composed and not diminish your exalted composition through any additional changes.”
At about this point, Haslinger, Kuhlau, Graf and Sellner appear to leave for Vienna in a private carriage, leaving Holz alone with Beethoven. Holz observes that Haslinger is drunk. “Tobias was never as friendly and outgoing as he was today.” Sellner is the only one of them who understands anything. Beethoven asks whether Holz doesn’t have to work, since this is a Friday. Holz says he has a vacation now. Beethoven asks for how long, and Holz tells him “For a short time.”
Würfel claimed that he understands how to play Beethoven’s Concerti better than all the Viennese. A skeptical Holz says, “I would be happy if it were true.”
Haslinger will give the proof parts for the King Stephen overture to Nephew Karl tomorrow; Karl can then bring them to Uncle Ludwig on Sunday, September 4. Haslinger would pay 100 ducats immediately for a piano quartet with string instruments.
Beethoven is pondering whether to sell the new quartet to Maurice Schlesinger. Holz says that there is not a real feeling for art there in Paris, but if he will pay more, why not let him have the quartet? If Beethoven only wants 80 ducats for it, though, Artaria would pay that, and would very happily take something different. Haslinger might even pay more than 100 ducats.
Holz has hired a housekeeper, a very respectable woman, who only needs a broomstick [a joking reference to Beethoven and Nephew Karl calling housekeeper Barbara Holzmann an old witch.]
Holz has spoken to bassoonist August Mittag (1795-1867) about the improved bassoon, but he doesn’t put too much importance on it. It’s easier to play in the keys of A and E, because of G-sharp and F-sharp, and the consistency of tones. Beethoven wants to know more, but Holz tells him that’s all Mittag said. He’s very good.
Holz reminds Beethoven that he should not let the plan for an Akademie concert slip away. Beethoven says, yes, yes, he will think about it. Holz tells him it needs to be done soon, but Brother Johann must not be involved. Ludwig asks why not. Holz tells him that he creates confusion.
Beethoven asks Holz if he wants to stay at the Schloss, but he already has quarters at a hotel in Baden. Beethoven wants to write out the fair copy of the canon for Kuhlau, and have Holz take it to him tomorrow. Holz asks whether Beethoven wants him to come at a particular time. Beethoven decides that he will use the regular post, since Holz wants to leave on the early 6 a.m. carriage.
Conversation Book 93, 1r-1v. Conversation Book 94 starts being used on Sunday, September 4 when Nephew Karl comes to visit with publisher Maurice Schlesinger and Holz.