BEETHOVEN 200 YEARS AGO TODAY: Monday, August 15, 1825

Today is a holiday, the Feast of the Assumption. The weather is pretty poor today, with rain in the morning and afternoon, and then later in the day heavy winds. Fairly early in the day, Karl Holz arrives. Beethoven seems to express dissatisfaction that Nephew Karl did not come to visit him yesterday. Holz points out that the common carriage to Baden is difficult to get, especially on a Sunday, and one must make the reservations the day before, on Saturday morning.

If Nephew Karl gets up late, he must obviously come then via private carriage, which will cost 2 or even 3 florins. The common carriage will hold 9 persons and is very comfortable, Holz thinks. It leaves at 6 in the morning and 4 in the afternoon. Beethoven asks whether Holz likes it? “I am very pleased with it.”

Beethoven appears to complain to Holz (who is second violinist in the Schuppanzigh Quartet) about Schuppanzigh having problems initially with the quartet op.127. Holz assures him, “I believe, however, that milord will also play this quartet [op.132] well.”

Holz thinks Linke will get into a predicament. [Although Beethoven promised Linke the premiere of op.132 at a concert for his own benefit, to make up for his disappointment in not be allowed to do that with the quartet op.127, Beethoven seems to be thinking about letting Schuppanzigh have the premiere of this new quartet after all.] Holz thinks Schuppanzigh is better in his execution than rival violinist Joseph Mayseder. Beethoven interjects that was not what he was told about the premiere of op.127. Holz agrees, “If you had heard it, all four of us would have received a thrashing.”

Holz proposes that if Wenzel Rampl copies the A minor quartet [op.132], they had better have a rehearsal for correctness amongst discreet individuals. Otherwise, Linke, Weiss, a third person and Holz are willing to copy it. Beethoven is fine with that proposal. Holz asks what kind of paper it needs to be, and asks how to obtain paper in that format. Beethoven says that even if they do the copying it will still need to be proofread, and Holz agrees, Linke will have it looked over. The matter still seems unsettled, and Beethoven appears to lean again towards the professional copyist doing the work of making the copy of the quartet for Prince Galitzin, using their version as his model [Rampl refused to work from Beethoven’s autographs any more], because Holz asks where Rampl lives.

The pair are out on a walk. The weather is poor, and Beethoven is in a cranky mood. Holz jokes that his grumbles are like today’s weather. [Beethoven, perhaps wanting to avoid conflict, does not appear to voice his complaints about the copying job to Holz during their conversation. Instead, he will write to Holz this afternoon, after his departure.]

Holz is becoming like part of the family now; he went to Karl’s on Saturday evening, and once again Karl wasn’t yet back home. Beethoven asks him what time that was, and Holz answers 5:30. Karl goes to the theater often. Beethoven asks how Holz knows this. The people in the house where he lives, answers Holz. He thinks it would be better if Karl went to the Burgtheater, with its more serious dramas, rather than the Theater in the Josephstadt, which mostly featured frivolous comedies.

Ludwig brings up the annoying subject of Brother Johann and his lack of understanding of music. Holz replies, “Milord [Schuppanzigh] has told him often enough that he’s the biggest ox when he starts to speak about your art. Ludwig feels that Johann is always grubbing after money. “He is not afraid to scrape money together in a vulgar way,” Holz agrees. Ludwig thinks Johann would sell everything. “Perhaps even the medal” [the gold medal given by the late King of France.]

Holz mentions that composer Friedrich Kuhlau (1786-1832) is in Vienna. Beethoven asks what his position is. He’s the Danish kapellmeister. Beethoven asks whether he has written anything that he might know of. “He has written an opera, Die Räuberberg, which was very successful there.” [Kuhlau will visit Beethoven on September 2.]

Holz appears to need to urinate. He tells Beethoven, Turn around! He jokes, “That is young wood [Holz]; it needs a great deal of moisture. I’ll make it short, but less considerate.”

As they continue, the question of who will publish the new quartet comes up. Holz thinks that Beethoven could show proof of his esteem for Steiner all the more by giving him the quartet. “Provided, Money! Money! Money! Steiner would gladly have paid more than Schott for the first quartet [op.127].” Beethoven doesn’t think Steiner would offer the most. “Then sell it where you would be paid the best.” Beethoven does want to placate Steiner [to whom he still owes money.] Holz disagrees: “You don’t have any reason to be generous.”

Holz suggests that to save Beethoven time, he will do a preliminary proofreading of Rampl’s copying. Beethoven approves. Holz insults the Blumenthal family of violinists, complaining that one of them wanted to strike out a flat in the F minor quartet, op.95.

Holz observes that the new quartet has many so-called grateful passages for the violoncello. Beethoven says he took care to make the cello part interesting, since Prince Nikolai Galitzin, who commissioned it, is a cellist. Holz says, “That will give him a problem to solve.” Holz notes that Prince Radziwill is also a cellist.

Holz mentions the concert of the Mayseder Quartet that he went to yesterday evening. They played the first Razoumovsky, op.59/1 superbly. But the tempo in the first movement seemed to Holz to be too slow.

Beethoven starts talking about the impending publication of the Missa Solemnis, which Schott’s has announced and for which they are taking subscriptions. Beethoven is getting 1,000 florins C.M. for it, but it took him three years of work. Holz thinks he sold it too cheaply; the directorship paid 1,000 florins C.M. [possibly as an honorarium for composing an opera for the Court Theater, Prof. Albrecht suggests.] Holz thinks that they will possibly see the Mass in print before they are able to hear it in its entirety. Beethoven asks which movements he has not yet heard; Holz says the Gloria and the Sanctus/Benedictus. [These movements were omitted from Beethoven’s Akademie benefit concerts.]

Beethoven asks Holz the name of the director of the Polytechnic Institute where Karl is studying. Holz tells him [Johann Joseph] Prechtl. That’s not who Beethoven was thinking of. [He probably meant the vice-director, Franz Michael Reisser, who was the vice-director, who was Karl’s co-guardian. Reisser had wanted to look at the score of the Missa Solemnis, and Karl had let him look through the score, but did not allow him to copy it.]

There is more discussion about the possible benefit concert in the fall. Holz mentions that it was already in the works that Beethoven was to give a concert early in the year. Beethoven asks when Holz is arranging it for now. “In the fall.” Beethoven asks who Holz thinks should serve as concertmaster. Holz suggests Franz Clement, after some preliminary instruction by someone else. Perhaps Michael Umlauf, who had conducted the Akademie concerts in May of 1824, could serve again as conductor. Beethoven asks what Holz thinks of the acoustics in the Large Redoutensaal. Holz confesses, “I myself have heard little in the Redoutensaal.” At the Musikverein concerts there, they improved the acoustics by hanging cloth around the stands. But last year in the Augarten, they played the C minor symphony [Nr.5] and it went better than he had ever heard it before.

At this point, Holz departs, and Nephew Karl arrives later, possibly having taken a private carriage as Holz suggested. In between, Ludwig fills two pages of the conversation book with arithmetical computations.

Karl either looks back through Holz’s commments, or Uncle Ludwig tells him Holz thinks he should sell the quartet to Steiner. Karl reminds him that the Schlesinger firm will probably pay 80 ducats, and they need to wait for his answer. Uncle Ludwig asks when Karl sent the letter, and he says July 20.[The letter to Schlesinger is dated July 19.]

Karl asks his uncle whether he has ever read the tale by La Motte Fouque. [He probably means Undine, which was the basis for Grillparzer’s libretto for Beethoven, Melusine.]

Uncle Ludwig asks whether Karl thinks the Schuppanzigh Quartet will be able to play the new quartet. He thinks so, if they stick with it. Uncle Ludwig felt that the audience understood it better when the last quartet, op.127, was played twice in a concert. Karl tells him that at the time of the premiere, the Schuppanzigh Quartet would not have been able to play it twice. [It was a rather novel concept when Joseph Böhm did it afterwards.] Uncle Ludwig doubts Schuppanzigh is up to the task. Karl says in Schuppanzigh’s defense, “It really is no small thing for the first violin player.” Uncle Ludwig asks what he means by that. “Always to maintain the same strength.” Uncle Ludwig is skeptical. Karl shrugs and says, “I can only judge according to what I saw at Böhm’s.”

Uncle Ludwig remembers that Johann mentioned Schuppanigh was covered in sweat when he finished playing the last quartet. Karl pokes holes in the significance of that claim: “The heat was also very great; they sweat a great deal. If, however, the 3 quartets [opp.127, 132 and 130] are well rehearsed, they can be played one after another just as well as Schuppanzigh plays 3 other ones in his concerts”

Uncle Ludwig asks whether Karl is keeping up his piano practice. “I still play now when I have spare time.” [The clavichord at Karl’s apartment had recently been tuned, which may have prompted Ludwig’s inquiry.]

There is some discussion of Prof Wilhelm Würfel from the Warsaw Conservatory, who came to Vienna last year. Karl believes that his travel expenses and his meals are paid for by the Conservatory. [Beethoven will also meet Würfel on September 2.]

Karl also has some juicy gossip. Dr. Staudenheim has now married his housekeeper, a French woman. Uncle Ludwig asks whether he is the father of her child “The son, however is not his. She certainly is a superb housewife.” [Karl underlines “superb,” possibly making a joke at her expense.

Discussion turns to Greek mythology, which Karl had studied at the University. “The ancient heroes may have drunk handsomely. They must have had a great appreciation for music, since they placed their foremost singers among their demigods, like Amphion, etc. But it is said about Orpheus that he, through his singing, persuaded the lions and stones to follow him.” Uncle Ludwig says he has always liked reading Homer. Karl suggests he set a passage from Homer to music.

Karl asks whether his uncle heard about the fire in Vienna. It was on the Spittelberg, where their second-hand dealer was located. Several houses halfway burned down. “I was there myself. Afternoon, around 5:30.” [The fire had actually occurred two weeks ago, on August 1.] “It was very extensive.” The buildings burned on both sides of the street.

Karl observes that the Müller woman and the owner of the coffee house are the same person. [Prof. Albrecht suggests that she may be the daughter-in-law of Johann Schimmer, the deceased owner of the Schloss Gutenbrunn.] She had wanted to erect a pavilion in the courtyard of the Schloss where people could drink coffee, but they refused to grant her permission to do so.

Uncle Ludwig is feeling depressed, and that he will be hated for his new works. Karl tries to reassure him: “Few people will hate you; at best, they will envy you.”

Uncle Ludwig thinks about playing the lottery, but the tickets are too expensive. Karl tells him that Rothschild’s lottery tickets are not so expensive; one lot is 100 fl. C.M., he thinks.

Karl does some arithmetical computations while his uncle proofreads the parts that Holz dropped off for him. He concludes that the annual interest on 20,000 florins at 5 percent is 1,000 florins. He thinks that anyone who can afford to do so should buy one lot at every lottery. But that’s too much for Uncle Ludwig.

Karl and Ludwig probably goes to a coffee house, to read the newspapers. Karl makes note for his uncle of an advertisement for a housekeeper.

Uncle Ludwig dictates to Karl an Italian tempo marking to Karl: “accelerando. p. a p. più vivace.” Karl writes vertically on the page, “faster.”

Karl makes his customary accounting to his uncle before he departs:
Carriage in there [last time to Vienna] with tip, 2 fl. 15 kr.
Carriage out here [to Baden], ditto 2 fl 15
Breakfast in Neudorf 20 kr.
Spending money for me 1 florin
1 bundle of pens for calligraphy 1 fl. 30 kr.
Total: 7 fl. 20 kr.
Received: 7 fl.30 kr.
Remaining 10 kr.
It’s good that the seat in the carriage is reserved.

Karl notes that his uncle has marked many passages in Goethe’s autobiography. Uncle Ludwig mentions he likes a particular wine, but Karl says he prefers the Sexarder, a cheap wine from a town in Hungary, Szekszárd.

The talk turns to housekeepers. Something is as wrinkled up as housekeeper Barbara Holzmann is herself. “The Polish countess is said to be so stingy that no-one wants to serve at her place. She must be very rich, since she has brought a carriage with silver harnesses, etc.; even so, she specifies to the cook how much butter, how many eggs, etc. must be gotten.”

Karl mentions that it’s too bad Baroness Antonie von Puthon [Karl writes Pouthon] has died. [She died on February 14, 1824 of a lung ailment. She had studied piano under Muzio Clementi, and was friendly with Beethoven.] There is further discussion of butter and selecting servants. A delivery of flour is expected soon.

The carriage to Vienna is leaving early today, at 3:30 rather than 4, because the weather is so bad. It has been raining all day, and there are high winds. All the seats are reserved, so Karl is glad he has a spot. Karl reminds his uncle that the tutor’s month was finished on the 14th of August; he needs to be paid. Karl returns to Vienna.

Conversation Book 92, 26av-38v.

Today, Marie Leopoldine Pachler, the wife of a lawyer and pianist, who had met Beethoven in 1817 and 1823, writes to Beethoven from Graz. “Dear esteemed Hr. v. Beethoven! You will perhaps hardly remember me — and even less the promise you made to me two years ago — to take a look around our friendly Styria. [She had invited him on September 27, 1823, during a visit to Baden.] I have often wanted to remind you of this since then, but I have always lacked the courage to write to you directly, especially on a matter in which I am so very interested.” She is writing presently to give a letter of introduction to Johann B. Jenger, a friend of hers and a fervent admirer of Beethoven. She asks Beethoven to consider coming to visit in Autumn, which is always the most pleasant time of the year, especially September. They are living this year at Haller Castle, a pleasant country estate, and could comfortably accommodate both him and Nephew Karl. By express car, they could be there in 24 hours, and she thinks it would be beneficial to his health. She asks that he let her know in advance the day of his arrival, so she can come meet him and escort him. Or if he prefers the City (which she doubts), he can use the entire second floor of their house in the City.

Brandenburg Letter 2031; Albrecht Letter 416. This letter is held by the Berlin Staatsbibliothek (aut. 35, 57a). Sieghard Brandenburg notes that the frequently cited letter supposedly from Beethoven to Pachler is a forgery (Anderson 815). Jenger did not come to visit Beethoven bearing this letter until December 11, 1826, so he did not know of the renewed invitation until it was far too late.