BEETHOVEN 200 YEARS AGO TODAY: Saturday, May 1, 1824

This is a very long day. Most of it is spent with Nephew Karl and unpaid assistant Anton Schindler. At least most of the copying for the Akademie benefit is finished, and word is being awaited from Kärntnertor Theater manager Louis Antoine Duport as to whether the theater may be used for the first concert, and the large Redoutensaal for the second a few days later.

Beethoven writes a short undated note to Schindler, telling him to meet him at the Golden Pear shortly after twelve. After that, they will come back to Beethoven’s apartment, and from there Schindler needs to go to Penzing to secure Beethoven’s apartment for the summer from tailor Joseph Hörr. [From the content of the letter, even though undated, it almost certainly has to be written today.]

Brandenburg Letter 1829; Anderson Letter 1287. The original is held in the Berlin Staatsbibliothek, aut.36,67.

Schuppanzigh’s morning concert in the Augarten opens with the first two movements, Allegro and Andante, from Beethoven’s Fifth Symphony in C minor, op.67. After various works by Rossini, Moscheles, Bernhard Romberg, Johann Georg Lickel (1769-1843), and the vocal quartet Die Nachtigall by Franz Schubert (op.11/2, now catalogued as D.724), the concert concludes with the Finale from Beethoven’s Fifth. Leipzig Allgemeine musikalische Zeitung Nr.27, July 1, 1824 at 436. The review of this concert in the Vienna Allgemeine musikalische Zeitung Nr.30 of May 30, 1824 at 117 mentions that “the precise and excellent execution of the most difficult Symphony in C minor by Beethoven deserves all praise, and does the orchestra great honor.”

After classes, Karl visits his uncle, and notes it is more pleasant to spend the day with his Uncle than to go to the University. It is difficult to have mid-day dinner together though, because of his courses. He might be called upon and that would be very awkward. It’s even more difficult today since he has more classes than previously and must eat in the City.

Karl did not attend violinist Ignaz Schuppanzigh’s morning concert in the Augarten. If he had gone, he would have attended the first period language class with Prof. Stein [Stein taught both Greek and Latin]. Then he would have skipped his second class, History, because it is less necessary, left before 9 and come back after 10. At 10:30, he would have his Philosophy discussion class, which he cannot miss. Since his Uncle had warned him about the examinations, he thought it probably better not to skip class and attend the concert.

Uncle Ludwig asks whether Karl will come live with him, rather than keep his boarding house room near the campus. Karl has too many classes this quarter, and will keep the room.

Beethoven’s financial advisor and go-between with England, Franz Kirchhoffer, comes by Beethoven’s apartment. He suggests that if Ludwig were to go to England for a year, he would be rich. Kirchhoffer still has the score of the Ninth Symphony for the London Philharmonic Society. He spoke with the secretary of Prince Paul Esterházy, and he will be sending a courier to England in a few days. Kirchhoffer asks whether it should be sent with him. Beethoven thinks that’s fine, but Kirchhoffer has reservations about how secure that would be. Beethoven has no worries, so Kirchhoffer confirms it will go to Baron Philipp von Neumann, the Austrian Legation Councilor in London, via secure pouch.

After he leaves, Nephew Karl computes the salary of the housekeeper. It seems Barbara Holzmann, often referred to by them as “the old woman,” is again acting in that role for them, which she prefers over being in the poorhouse of St. Marx. The washerwoman comes to do the laundry. Ludwig is concerned that too much food is being made if Karl is not going to be there for dinner often, but Karl assures him that the maid knows his schedule and when he will be there. She can stack the wood when it comes.

Beethoven makes a note in the conversation book to hire a housekeeper to assist the old woman.

In the afternoon, Schindler meets Beethoven, probably at the Golden Pear as suggested. Things were ready yesterday, but this morning he had to go to Schuppanzigh’s concert, and later he had a rehearsal at the theater.

Unfortunately, the ticket prices cannot be increased. Schindler asked attorney Johann Baptist Bach what to do, and he said Beethoven will have to content himself with it for now. But the Kärntnertor Theater will be extremely full, so even though the profit won’t be very great, things should be better for the second concert. [In particular, there will be little in the way of copying expenses.] The first performance will excite the public, so everything will come together for the second concert, but they need to be close together.

Schindler notes that Adolf Bäuerle is already announcing the Akademie today in his Theater-Zeitung. He admires the announcement as “short, punchy, and worthy of you.”

That notice in today’s Wiener Theater-Zeitung announces the grand musical Akademie of Herrn Ludwig van Beethoven at 212. “This will not take place at the Theater an der Wien as we previously announced here, but at the Imperial Court Theater next to the Kärntnerthor on May 4, 1824, for the benefit of the celebrated composer. The evening will consist of only his most recent works, namely:

“Three great hymns with solo and chorus parts.
“Then a new great symphony with a finale of solo and chorus parts on Schiller’s poem, An die Freude. (The solo voices presented will be the ladies Sontag and Unger, and Herren Jäger and Preisinger.)

“Herr Schuppanzigh is in charge of the orchestra, Herr Kapellmeister Umlauf has direction of the entire concert, but Herr van Beethoven will himself take part. This Akademie is for friends of German music and recognition of the masters representing the Fatherland. France and England will envy us the enjoyment of the most brilliant composer on earth, as we pay personal homage to Beethoven. Anyone whose heart beats warmly for the great and the beautiful will not miss that evening.”

The rehearsal for tomorrow is set up as well as possible. Schindler reserved the extra basses today at the concert in the Augarten, since Schuppanzigh and Ferdinand Piringer had neglected to tell them about the rehearsal. “Words, nothing but words; only doing things for themselves, but for no-one else.”

Everything was arranged yesterday for the rehearsal, and Schindler gave the necessary notes of invitation, including for several dilettantes in the chorus. That way, there will be a note for everyone, even for the Chorus.

The Emperor and Empress are leaving Vienna on Wednesday, May 5, so it would be best if the concert can be held on May 4 before they depart [a scant three days away, with the first rehearsal tomorrow].

At some point in this conversation, the pair go back to Beethoven’s apartment so he can give Schindler the rent for Hörr, which is to be delivered today.

Beethoven wants to give Duport a piece of his mind, but Schindler cautions against it until after the Akademie is over. He has briefed the musical newspaper editors about the whole thing. But it would be a good idea to write to Count Palffy of the Theater an der Wien [Beethoven had abruptly canceled the Akademie concerts there, after Palffy refused to reschedule plays that were already to be performed there.] He would appreciate it.

Beethoven asks whether Schindler has proofread the wind parts yet. He has not had time. [Beethoven has been complaining about his failures to do so, particularly for the horn solos, for nearly two weeks now.]

Schindler suggests it would be a good idea to give conductor Michael Umlauf the score of the Ninth Symphony today, so he at least can look through before the rehearsals tomorrow.

The director of the chorus, Ignaz Dirzka, would like a rehearsal with Umlauf and Beethoven on Monday afternoon, May 3. Beethoven would prefer doing it in the evening. Schindler tells him that won’t work, as nothing can be done in the theater in the evening. [A German language version of Paisiello’s La molinara, Die Müllerin, is scheduled there; the Theater an der Wien is running Schiller’s play Maria Stuart.]

Schindler asks whether Beethoven has made arrangements for his black suit yet. “Tempus exstat.” [There is time.]

Several of the winds at the Kärntnertor Theater declared they would come to the rehearsal tomorrow at no charge. “They said expressly: anything for Beethoven.” Perhaps more will have the same sentiment.

Schindler delivered Beethoven’s letter to Duport yesterday. It affected him most dreadfully. He feels very much offended by it [the misunderstanding over Brother Johann’s authority as well as Beethoven’s tone, it seems], but “because Beethoven is a great artist, one must not take offense.” He will therefore grant the request for the concert on May 4. However, he can only allow one general rehearsal, because the Theater cannot be schedule-free for more than one day. How presumptuous of Duport to assume that my works can be performed with just one rehearsal! cries Beethoven. Schindler agrees, “Not only presumptuous, but ridiculous.”

Schindler would like a note addressed to conductor Umlauf, so he appears at the Landständischen Hall tomorrow at 9 a.m. for the rehearsal. Beethoven delays, and Schindler insists that he write it now.

Talk turns to copyist Peter Gläser, who is unwell. He at least has made his profit already. But he breathes heavily, as if he had asthma. The smallest thing excites him dreadfully. Beethoven asks whether he would come to the Akademie. Schindler thinks he would, if Beethoven goes to see him on May 3 with a special invitation.

Schindler asks again for the note to Umlauf, that he can have the score until 10 o’clock on Monday morning. [Possibly so the proofreading of the wind parts can be finished.] Schindler must go to Penzing to arrange for Beethoven’s summer rental. Tomorrow Beethoven will need to rent a hackney cab for half a day, because there are several errands that must be done in a hurry. The female soloists, Henriette Sontag and Caroline Unger, need to be picked up and driven home. The other soloists live near the rehearsal. The coach will cost 5 or 6 florins at most. That will save sedan-chair carrier fees. Schindler has already told Sontag to be ready at 10:30, and Schindler will pick her up with tenor Joseph Haitzinger.

Karl comes from Brother Johann’s bearing a gift of wine from his estate. Ludwig and Karl go shopping and briefly encounter composer Joseph Mayseder. Ludwig does not know him, so Karl has to identify Mayseder.

Afterwards they meet Joseph Bernard, editor of the Wiener Zeitung, probably at a coffee house or restaurant. Bernard has taken over Karl Peters’ apartment at the Lobkowitz Palace, and he is using it as a business office. So if Beethoven wants to send anything to Bernard, it can go to the porter there. Peters often intends to visit Beethoven but he was never at home afternoons and evenings. Beethoven asks whether he should visit Peters [who had acted as Karl’s co-guardian a few years earlier.] Bernard says Peters did not expect that, he just says he wants to visit Beethoven.

Bernard identifies the source of the Petition delivered back in February, which requested that Beethoven premiere his new Mass and Symphony in Vienna and not in foreign countries. It is a product of the Ludlamshölle Group, who meet at a beer house. Ignaz Castelli, Christoph Kuffner, and Johann Ludwig Deinhardstein are all members. [They also all three signed the Petition.] Editor Adolf Bäuerle [who first published the Petition] is also a member. “They wanted to strike a blow against the Italians with it. Earlier they used Weber in the same way.”

Bernard observes that three movements of Beethoven’s Mass in C, op.86, were performed in the recent Concerts spirituel. [The Credo and Agnus Dei were performed; Bernard may be counting the Dona nobis pacem as a separate movement. In any event, Bernard identifies the Sanctus and Benedictus as being performed and they were not, so his information or recollection is poor anyway.]

Beethoven asks about the Mass for 6 harps and 4 horns by Franz Stockhausen, which Bernard had provided a German text for. It did not receive approbation, but Bernard says it was also poorly performed. Beethoven asks how Bernard came to write the text. It was originally set to the usual Latin words of the Mass. But it couldn’t be performed in a theater as a Mass, so he was asked to fashion a poem to serve as the text for the music. That way it could be performed as a Hymnus. “It was extraordinarily difficult work. I always had to have the score in hand.” The Mass had been sent from Paris to Archduchess Clementine. She plays the harp, and Josepha Müllner-Gollenhofer (1768-1843) of the Court Theater orchestra is her teacher. So the Princess wanted the composition performed publicly, which gave rise to the whole thing.

Magistrate Councilor Mathias Tuscher, on the board of the Gesellschaft der Musikfreunde, sits near Beethoven, and Bernard points him out. According to Tuscher, the Musikverein is no longer able to perform great music. Beethoven asserts that they still give concerts. Yes, but just house concerts for themselves, Bernard answers.

Franz Grillparzer is doing well for himself as a Court Secretary. His tragedy Ottokar cannot be performed, though the censor will allow it to be printed. There are concerns that it could lead to rebellion on the part of the Bohemians. Bernard is disdainful of them, asserting the provinces are poor coinage; the same goes for the Poles. Out of 30 million people, 20 million cannot read or write. That will bring an end to the old world. In America they travel by steamships, whereas Europe goes by regular boats. “Europe has become old.” When Beethoven tries to defend the common man, Bernard says that during the Congress of Vienna, he saw German nobility who held the base common people in the greatest contempt.

Schindler joins the two of them, saying that if Beethoven would consult regularly with Bernard, they would always be better off. “So many questions, so many answers and opinions.”

Henriette Sontag will not be performing tomorrow, Sunday. [Schindler does some wordplay on Sontag’s name, which means Sunday.] Michael Umlauf cannot rehearse any more today, but things will come together tomorrow morning. Schindler will come to fetch Beethoven at 8 o’clock. He beseeches Beethoven to be ready, like a Musketeer, and then they can march off at 8:30.

Beethoven writes a little shopping list:
+Under-vest
+Letter paper.

Ludwig and Karl go running errands. The first is to the tailor to check on the suit. It is at the cloth cutter’s. It is very fine, and will be ready Monday morning, May 3. Karl asks whether his uncle might not also want new trousers? He will need boots; Karl asks whether he has stockings already.

They return home for the evening, with tomorrow being yet another busy day with the first full rehearsal for the Akademie.

Conversation Book 64, 5v-22r. Today Karl regularly starts his comments on a new page without fully completing the prior one. This gives Schindler the opportunity, which he uses readily, to fill in fraudulent entries after Beethoven’s death. They are, however, almost always easy to spot since Schindler is a clumsy forger despite all his practice.

Tailor Joseph Hörr, who will be renting Beethoven his summer apartment at Penzing 43, first floor (second floor American), gives Schindler a receipt dated today for Beethoven. The rent, ably negotiated by Schindler, is significantly discounted from the 400 florins Hörr was asking, down to 180 florins C.M., paid in cash. Albrecht Letter 362. The building no longer exists today. On the receipt, Beethoven has written in pencil, “Villain.” The original is held by the Berlin Staatsbibliothek (aut.35,85) and a copy is attached.

Today’s Wiener Zeitung (Nr.100 at 428) includes an advertisement from Sauer & Leidesdorf for Beethoven’s “Nouvelles Bagatelles pour le Pianoforte,” op.112, for 2 florins W.W. [These were the 11 Bagatelles op.119. The publisher did not get Beethoven’s authorization to assign the opus number 112 to the little pieces, but just guessed, apparently unaware that op.112 had already been given to Meeresstille und glückliche Fahrt.] Just below that, Jeremias Bermann again advertises Beethoven’s Das Glück der Freundschaft, op.88, and the Pathètique Sonata op.13, but the 6 variations on Tändeln und scherzen, WoO 76, are omitted today.