BEETHOVEN 200 YEARS AGO TODAY: Saturday, January 15, 1825
The copying and proofreading of the engraver’s copy of the Missa Solemnis and Ninth Symphony finally completed, Beethoven will later today turn the scores over to Fries & Co. These scores will be forwarded by them to Schott in Mainz for publication, and this starts the clock ticking for Beethoven to be paid at last.
The score of the Missa Solemnis is in the hand of an unknown copyist, with revisions made by Ferdinand Wolanek. This score is held by the Bonn Beethovenhaus, NE 269, having been acquired from the Schott archives in 2005. This very interesting score can be seen here:
https://www.beethoven.de/de/media/view/6566615722229760/scan/0
The engraver’s copy of the Ninth Symphony sent to Schott is in large part the copy used by the conductor for the May 1824 Akademie concerts where the Symphony was premiered. However, due to the many errors in that copy, a number of corrected pages written by Wolanek have been substituted. The score is bound in three volumes. The first volume is comprised of the first movement, the second of the two middle movements, and the third the Finale. This score is now held by the Juilliard library, having been acquired at auction from the Schott archives in 2006, and it can be seen here:
https://juilliardmanuscriptcollection.org/phpviewer/index.php?path=BEET_ODEJ_SCORE
Beethoven writes a letter to Charles Neate in London today, which Nephew Karl translates into French for his uncle to serve as a lingua franca. “Monsieur! It was with the greatest pleasure that I received your letter of [December 20, 1824] in which you were kind enough to inform me that this distinguished Society of Artists [the London Philharmonic Society] invites me to come to London.”
“I am very pleased with the conditions that the Society gives me, only I wish to propose to them to send me, in addition to the 300 guineas that they promise me, another 100 guineas to cover the expenses of the journey, for it will be necessary to buy a carriage and I must be accompanied by someone. You see that this is necessary. Also, I beg you to indicate to me the inn where I can stay in London. I will bring a new quartet with me.”
“As for the rumor you write to me about, that there is a copy of the [Ninth] Symphony in Paris, it is unfounded. It is true that the Symphony will be published in Germany, but not before the year has passed, during which the Society will enjoy it. [Beethoven had previously given London the exclusive rights to the Symphony for a period of 18 months, but seems to have forgotten that.] On this point I must also warn you to make only small rehearsals of this composition, in a quartet [of the four string parts], for example, because this is the only way to properly evaluate such a work; the choruses must be well-rehearsed above all. There are still some errors [in the score], the catalogue of which I will send you by the next post.”
“It seems to me that it was forgotten in the second movement of the Symphony, that at the repetition of the Minore after the Presto, one must begin again from the $ sign [i.e., from the very beginning of the movement, where the sign appears in the original score] and continue without repetition until the Ferma; then one immediately takes the Coda.” [In the published version in the Gesamtausgabe, the repetition is completely written out to avoid this confusion.]
“Please answer me as soon as possible, because I am asked for a great new composition, which I will not begin, however, without first having your answer. I must always write, not to make myself rich, but only to provide for my needs.”
“I must have certainty on this point. – I shall be very charmed to see you and get to know the noble English nation. I am with the highest consideration, Monsieur, your sincere friend, louis van beethoven [sic]”
Brandenburg Letter 1924; Anderson Letter 1344. Karl left a space for the date of Neate’s original letter blank, to be filled in later, and apparently forgot to do so, or they were unable to lay their hands on it in a timely manner. The original letter, bearing a Vienna postmark, with Beethoven’s signature (and an address written by an unknown hand) is held by the Bonn Beethovenhaus (H.C. Bodmer Collection Br 177), and it can be seen here:
https://www.beethoven.de/de/media/view/5363123741523968/scan/0
Neate will respond to Beethoven on February 1. The offer was obviously a tempting one for Beethoven, but having been burned badly by the promise of riches from the Akademie concerts of May, 1824, and received very little for his efforts, the composer was appropriately cautious about the financial risk and expense of making such a long journey. It is not certain who exactly Beethoven had in mind as his traveling companion. Nephew Karl might seem like an first obvious choice, but Beethoven would not want him to depart from his studies, and likely would have preferred a professional musician who had recently toured Europe and could effectively negotiate for him in England, such as Ignaz Schuppanzigh. Karl had directly suggested him as a traveling companion a few days ago. Johann Baptist Streicher was mentioned as another possibility, since he has already been in England and speaks the language. Ferdinand Ries, who had served as Beethoven’s agent in London for quite a few years, had returned to the Rhineland, so he would probably not be available, though Beethoven obviously liked Ries a great deal and trusted him implicitly.
In the early afternoon, violinist Ignaz Schuppanzigh climbs the flights of stairs to Beethoven’s apartment for mid-day dinner, roast kidneys. Brother Johann’s idea for three more Akademie benefit concerts is the first order of business. Schuppanzigh hears Ludwig out, but is not encouraging. If they do the Missa Solemnis, then he would suggest Mathilde Wiss, soprano; Mademoiselle Barbara Fröhlich (1797-1879), alto; Herr Ludwig Titze (1797-1850), tenor; and Michael Weinkopf (1780-1862), bass. They can get the best choral singers from the Musikverein, and the best instrumental dilettantes. [Schuppanzigh had disapproved of using dilettantes for the May 1824 Akademie concerts, but he appears to have resigned himself to them since they would perform for free.]
Schuppanzigh seems more interested in discussing one of Beethoven’s quartets. [The German editors suggested that this was one of the Razoumovsky Quartets op.59 that had recently been performed by the Schuppanzigh Quartet.] Schuppanzigh says one passage is too unclear if several play it together, and the tempo is too fast. If Beethoven insists upon that tempo throughout, then Schuppanzigh concedes that one could push it; it isn’t impossible. Schuppanzigh had made some unspecified changes so the quartet would be more comfortable for the players, and Beethoven didn’t say anything about it. The people in the audience gladly would have listened to the quartet again, Da Capo.
The topic of the new quartet, op.127 in E-flat major, comes up. “If you would like to loan me the Quartet for a performance, i.e., so that I can make it known, this would lend great distinction to my current subscription series.” Schuppanzigh confirms that Beethoven will let him premiere the quartet, rather than his cellist, Linke, who had asked for it for his own benefit concert. “So, you allow me to make it known.” Schuppanzigh, eager to pin Beethoven down with a public announcement, immediately goes to have notices put in the musical press that Beethoven’s new quartet, still in manuscript, will be premiered in the first concert of the next subscription series, on January 23.
After Schuppanzigh leaves, Karl reminds his uncle that Linke probably needed the financial boost of the quartet premiere more. Schuppanzigh is better off financially than they are. Ludwig, knowing nothing of Schuppanzigh’s plans to make the formal announcement, starts to reconsider whether Linke ought not to get the premiere.
Later this afternoon, probably about 3 p.m., Brother Johann comes to Ludwig’s apartment. If there is still time, they should go to Fries’ bank to turn in the scores of the Ninth Symphony and Missa Solemnis. Johann thinks Karl should go along. Johann reminds his brother that Schott’s is also expecting the score of the quartet, so it is urgent to send that along, so they can see that Ludwig keeps his word. Ludwig protests that the quartet is not yet finished and certainly not in any condition to be sent to the publisher. It will have to go later. Johann says that at the same time as the quartet score is sent, they should be told that they cannot engrave it immediately, because of Prince Galitzin’s rights. Ludwig may point out that Galitzin said he could have the work printed immediately and did not desire any exclusivity.
Johann is quite insistent that they should have already gone to Fries today with the Mass and the Symphony. Ludwig tells him that the scores are ready to go, but that he is not able or not willing to come along. Johann says it is better if there are two of them, but he can go alone if need be. All Ludwig has to do is give him a written statement he can take along saying that Johann can sign for him.
Johann departs for Fries with the scores and the power of attorney. While he is gone, Joseph Bernard, editor of the Wiener Zeitung and author of the libretto to the proposed oratorio Der Sieg des Kreuzes comes to the apartment. In an attempt to convince Beethoven to work on the music for this oratorio, Bernard mentions that on the Rhine there are two large musical societies, in Cologne and Mainz. In both of those cities, they hold grand oratorios, given by several hundred musicians, and people stream to them from as much as 30 miles away. It could be given in other cities, such as Berlin, Bremen, or Hanover.
Vincenz Hauschka, who was active in the Gesellschaft der Musikfreunde, and had arranged for the commission to write the oratorio, is according to Bernard complaining a great deal about Leopold Sonnleither, who is on the board of the society and in charge of the choruses. Sonnleithner “does nothing at all, doesn’t keep minutes, and neglects everything.”
Bernard departs, and Johann returns, probably between 5:30 and 6 p.m. He went to Fries with the scores at 4 o’clock, but didn’t find the manager there. So, Johann went back at 5 and he was there. “He was very annoyed that the works were delayed so long because the Schotts have written him over 30 letters about it.” But the scores are delivered. Johann has an appointment to go back on Monday [January 17] at 4 o’clock to sign the bill of exchange. They had a great deal to do yet today, since it is a big postal day. Fries asked that the third work, the quartet, be brought quite soon.
Johann mentions “At Karl’s place,” so Karl now has a separate lodging, probably a bit closer to the University. [Our collaborator Birthe Kibsgaard observes that since Ludwig and Karl lived together in the Johannesgasse apartment, this may mean Ludwig has by now moved to another apartment in the Kurgerstrasse, and that it might have been too small for the two of them. A letter to Karl dated May 19, 1825 (Brandenburg 1975) gives Karl’s address then as Alleegasse 72.]
There is some discussion between Ludwig, Johann and Karl about the premiere of the quartet op.127. Johann thinks that it should be given to Linke since Ludwig already promised it to him. Schuppanzigh can always have it afterwards, and perform it more often. Linke is just having the one benefit concert, so he would have it just the one time, although that would be the first time. [Johann’s insistence in favor of Linke suggests that the request for the premiere had been made by Linke through Johann, and Ludwig giving it to Schuppanzigh would reflect badly upon Johann.]
Ludwig does not make a decision, but would like to go to a beer house for the evening. Johann says that beer takes away Ludwig’s appetite. And then there is the cost: there is a tremendous difference between eating at a restaurant and in the home. In a restaurant juniper thrushes cost 36 kreutzers for two; at home you can have 4 of them for 24 kreutzers.
Johann does not prevail, however, and they head to an unidentified beer house. Johann tells Ludwig that he should write to the English telling them he is writing a grand oratorio for them, and they will certainly pay very well for that. Karl chimes in that Uncle Ludwig is nearly at the end of his composition, meaning the quartet op.127.
The topic turns to the mutinous soldier they discussed yesterday. He had been beaten on the captain’s orders. So the soldier shot the corporal who had complained about him, while he was writing in his room. [The guilty soldier was hanged on Monday, January 24, 1825.]
Johann intensely dislikes the setting. “I am not one bit happy in the stinking beer house. I would be much happier in the new coffee house. We can also get all of the newspapers there.” His disapproval appears to put a damper on the evening, and they return home almost immediately.
Conversation Book 81, 10v-16v.
The Wiener Theaterzeitung published today, Nr.7, at 28, includes an announcement of the beginning of another Schuppanzigh Quartet concert series, starting January 23. The new famous Double Quartet by Louis Spohr will open the series.