BEETHOVEN 200 YEARS AGO TODAY: Monday, May 3, 1824

Since there are very few conversation book entries for this important day, we are even more indebted than usual to Professor Theodore Albrecht for his reconstruction of it in his new book on the premiere of the Ninth Symphony at pages 97-99. That book can still be ordered here: https://boydellandbrewer.com/9781837651054/beethovens-ninth-symphony/
and the discount code BB245 is still being accepted by the publisher as of this writing.

Unpaid assistant Anton Schindler arrives at Beethoven’s apartment before 10 a.m. when copyist Peter Gläser is to come, and sets up a sort of assembly line for the tabs to be added to the parts for the orchestra in the Scherzo of the Ninth Symphony. After yesterday’s rehearsal it was clear that the copyists did not pay attention to the page turns, especially in connection with the repeats in the Scherzo. Rather than write out the repeats entirely, which would not have been possible under the time constraints, the solution was to have these tabs written out with additional music, and then have them glued to the appropriate page.

Considering the length of the Scherzo, and there were at least 41 orchestral parts, this project probably takes at least several hours. It helps that the trombones play only in the Trio, and thus would not need tabs, and the contrabassoon does not play in the Scherzo at all. Beethoven was no doubt supervising and checking to make sure Gläser and his staff were following the instructions closely. Schindler may have helped, but was also enlisted to run various errands for Beethoven. At some point today, Beethoven asks Schindler to go to the Kärntnertor Theater to remind assistant manager Joseph Gottdank and manager Louis Antoine Duport that the orchestra needs to be called for the rehearsal tomorrow morning at 10, at the Landständischer Hall.

Beethoven does not manage to get away for the first rehearsal of the Kärntnertor Theater chorus [not including the members of the Musikverein and others who were to be added] this afternoon, but sends Nephew Karl in his stead. Afterwards, Karl reports back to his uncle. Overall the news is very good, even though Karl thinks Dirzka is no expert, but instead a big amateur. But for a first time through, it went very well. “The basses got going like blazes. It will be splendid when all the participants are present for the whole thing.” That had to have been very encouraging after the mayhem yesterday with the orchestra rehearsal and several of the soloists not knowing their parts at all. [Karl does not report whether conductor Michael Umlauf was also present at this chorus rehearsal, but Karl’s silence suggests that he was not.]

Karl intends to go to the general rehearsal on Thursday, May 6 [effectively the dress rehearsal] in any case.

Yesterday, Karl ran into a Frenchman who formerly taught at his old school run by Giannatasio del Rio. He asked when the Akademie was to be. When Karl told him, he wished Ludwig a substantial income, and that he would certainly take in about 10,000 florins because the nobility will pay very well for their boxes. Unfortunately, Uncle Ludwig says, they have been prohibited from raising the ticket prices for the Akademie, and many of the boxes are already subscribed. In general, Karl adds, one is already tired of the Compositeurs [possibly a reference to the French and Italian composers in vogue in Vienna.]

Karl asks, “After the 4 [solo] voices, “Ja wer auch nur eine Seele,” does the Chorus come in with “Ja wer,” etc. His uncle says yes.

Conversation Book 64, 30r-31r. There unfortunately is no record of the piano rehearsal of the vocal soloists later today, seemingly scheduled for 5 p.m. Tomorrow morning at 10 a.m., separate rehearsals for the chorus and for the orchestra are scheduled at the Landständischer Hall. Time remains short and still much is left to be done, but both the orchestra and chorus are under way at last.

This concludes Conversation Book 64. Conversation Book 65 resumes tomorrow morning at the Landständischer Hall.

Choral parts to the Finale of the Ninth (apparently those used for the first performance) can be seen at Juilliard School of Music’s Archive here:

https://juilliardmanuscriptcollection.org/phpviewer/index.php?path=BEET_ODEJ_CHORAL