BEETHOVEN 200 YEARS AGO TODAY: Saturday, August 6, 1825

Karl Holz comes to visit Beethoven in Baden. There is some overlap between Conversation Books 91 and 92 over the next few days. Today’s visit starts in Conversation Book 92, which covers a period of about two weeks. That book is comprised of 46 leaves of assorted sizes and paper types, suggesting it may have been a handmade book much like many of Beethoven’s sketchbooks, using whatever paper was handy. The pages are presently bound out of chronological order; we have generally followed the reordering of the German edition by Professor Theodore Albrecht, though we have made some changes to better fit the chronology of the internal and external evidence. Eight of the pages do not have any writing on them, and these mostly have red pencil X markings on them, probably by Beethoven.

Holz comments about the parts for the quartet op.132, “He [Joseph Linke] will not do any copying tomorrow, because he will learn at my place that I am in Baden.” He hopes to have the parts finished within the coming week. Holz will report to Beethoven as to the progress being made.

As far as selling the quartet, he thinks Steiner will pay 60 ducats in any case. He would have paid that much for op.127, or perhaps even more now that it has been accepted as a success. Beethoven suggests that Holz try to negotiate with Steiner. If he does, Holz says he won’t accept anything less than 70 ducats. Holz says he will show Steiner the score and convince him that all violinists would be able to play it. [The previous quartet, op.127, already had a reputation for being very difficult in places.]

They discuss possibilities for libretti. Beethoven mentions that he has the libretto for the proposed oratorio Der Sieg des Kreuzes, but he is not finding it satisfactory. Holz asks whether this is the same one that was written by Joseph Bernard. Beethoven tells him that it is; Friedrich August Kanne made some cuts to it, but otherwise yes, it’s still the same. Holz responds, “In that case, Kuffner’s idea would be better: The Burning of Moscow.” [Christoph Kuffner (1777/80-1846) had written the text of the Choral Fantasy, op.80, and Beethoven had written some incidental music to Kuffner’s drama Tarpeja.] Surely something by Goethe could be found to furnish a text. Or perhaps something different to begin such a thing, if Beethoven is so inclined.

Someone [possibly cloth merchant Johann Nepomuk Wolfmayer, who wanted to commission a Requiem Mass from Beethoven] is an old woman, Holz thinks. “But the Requiem would have to be one that summons the Devil from Hell.” Holz quotes two lines from the Credo, “Et incarnatus est,” and “Et vitam venturi seculi.” Holz asks whether Beethoven is familiar with Cherubini’s Requiem in C minor. Beethoven tells him that he is. [He had told Ignaz von Seyfried that he agreed with Cherubini’s setting, and that if he were to write a Requiem, he would do many things the same way.]

This leads into talk about the Missa Solemnis, op.123. “The ‘Dona‘ with the recitative is quite new and surprising. An [Akademie benefit] concert needs to be arranged for the Fall.” [From the subsequent discussion, Holz has clearly been working on setting up such a concert already, without requiring Beethoven’s involvement.] It’s not too early to schedule that, since it will require at least two weeks of rehearsals to prepare the work properly. Everything should be arranged for such an Akademie concert two months beforehand, and not wait until the last two weeks. Beethoven mentions that he might write a Graduale, but Holz reminds him that the text of this part of the Mass changes from day to day.

Beethoven asks Holz where he thinks would be the best venue for such a benefit concert. Holz thinks the Landständischer Saal. The acoustics there are such that, with 16 skilled violins in proportion, a triple pianissimo would have the most beautiful effect, and would come off better than in the Kärntnertor Theater. Beethoven reminds him that this hall is much smaller and thus fewer tickets could be sold. Holz acknowledges that they would have 500 paying listeners, but the orchestra would be smaller as well to reduce expenses. “In order to make a sure profit, 3 concerts must be given, at very reasonable admission prices.” Ignaz Castelli (1781-1862) has taken it on himself to undertake the subscription list, and he would be the right person for it. He guarantees 400 tickets from his expanded group of acquaintances.

Beethoven mentions his visitor earlier this year, Ludwig Rellstab [possibly to have him write something about the Akademie concerts in the Berliner allgemeine musikalische Zeitung.] Holz doesn’t think Rellstab is the right name. He met a man here in Baden named Bastler who is a skilled musician. Maybe he got the name confused and that’s the same person as Rellstab? Holz is not sure.

Beethoven points out a man with a moustache. Holz says he doesn’t know him. Holz says that Joseph Böhm played the op.127 quartet “academically correct.” Holz expects that he will be rehearsing [either with Schuppanzigh or Böhm] at Zum wiessen Hirschen [At the Sign of the White Stag] in the City.

Beethoven asks about Holz’s position. “I have very light duties. Essentially I only work for one hour. The rest of the time I have for myself.” Beethoven suggests that he could leave, possibly thinking Holz could come assist him in Baden. Holz says he would, “but I must sit there; I must at least be there in body. So I always have interesting pursuits for myself.”

Holz then returns to his hotel. Beethoven totals up some figures, attempting some multiplication, which Karl had tried to teach him.

Conversation Book 92, 22r-24v