BEETHOVEN 200 YEARS AGO TODAY: Sunday, April 25, 1824

Beethoven likely spends the morning proofreading the fair copy of the score to the Ninth Symphony, which is intended for London. This score is referenced by Jonathan del Mar in his critical edition of the Symphony as Source B, which he describes as “beautifully copied by one copyist as far as IV 762 [the Allegro ma non tanto just after “ein lieber Vater wohnen“], two other copyists finishing off the job somewhat more erratically.” The dedication to the Philharmonic Society and the headings for the movements are in Beethoven’s hand. The text is in near final form, except for some changes made in January of 1825 in preparation for publication. Beethoven also made pencil corrections, meticulously at first and then less frequently as he progressed, indicating he was feeling the time pressure. The trombone parts are missing entirely from the last part of the Finale, and are entered by a later hand. The score is still owned by the Philharmonic Society, and is on loan to the British Library, where it is held today.

Unpaid assistant Anton Schindler comes to Beethoven’s apartment later in the afternoon, having spoken to Kärntnertor Theater manager Louis Antoine Duport about the arrangements for the boxes. There would be 17 available at 25 florins each. Even if they only paid half, that would come to over 4,500 florins, with almost no expenses. Duport didn’t want to mention anything about the 400 florins C.M. that Beethoven had offered for use of the theater, since he didn’t want to incur Beethoven’s distrust. He’s not making much profit, that much is certain, but he does get to boast of having had the Akademie in his theater. Beethoven starts to go back to the idea of the rent-free but much smaller Landständischer Hall and using the amateur Musikverein orchestra so he wouldn’t have to pay them anything, and that’s more than Schindler can take. “Don’t pay, but how great are the expenses to pay almost everything for such a large orchestra, and how is it going with the Musikverein? Oh, Lord Jesu!“

Duport gave Brother Johann a copy of the Allgemeine musikalische Zeitung where the Petition had been printed, as a reprint of Bäuerle’s Theater-Zeitung, where it had appeared ten days earlier. The messenger now requests the Zeitung back from Beethoven. What cheapness! Ludwig says Johann didn’t give it to him, so there is nothing to give back to Duport. Schindler says he told Duport as much. He’ll ask to get 2 or 3 copies for Beethoven.

Beethoven is thinking of renting an apartment from Baron Pronay again for the summer. Schindler tells Beethoven he would need to give the Baron earnest money, though if he knows the composer it should not be necessary.

Beethoven asks about how the rehearsals will work, especially with the amateurs from the Musikverein. Schuppanzigh can handle that with them in the rehearsal room at the Redoutensaal. These rooms are quite large, for they often have the entire orchestra in there. The small-scale sectional rehearsals or rehearsals of leaders can be held in the afternoon. So Schuppanzigh and Michael Umlauf must get those scheduled today.

It would be nice if the choral parts could be given to Ignaz Dirzka [choral director at the Kärntnertor Theater] tomorrow or at the latest the next day. Even if they aren’t finished, at least they would have something to study in the meantime.

But what about the Consecration of the House Overture? Since they haven’t been able to locate the score or the parts, the copying will be rushed and slipshod, since it will be done in too much haste. Josephstadt Theater manager Hensler has no score for it; Gläser only made a violin part with cues. Schindler is absolutely certain it is in Beethoven’s apartment somewhere, because the copy for London was made from it. If Beethoven insists he doesn’t have it, he can approach copyist Peter Gläser about it, since he also serves as the theater archivist.

Perhaps Brother Johann has a score at home? [He now owns the Overture, as partial repayment for a loan made to Ludwig.] He wouldn’t need it any more, so that could be used for the copying. Schindler mentions that yesterday Johann gave him the letter from Prince Galitzin in Russia, with the words that Ludwig should now immediately pack his things together and go to St. Petersburg. Unfortunately, the north will be infested by Rossinians, since the entire local Italian opera is going to St. Petersburg next September. The Tsar is giving half a million rubles to cover their costs, so it seems that the Courts are the same everywhere. [This plan had been reported in the April 6, 1824 Allgemeine Augsburger Zeitung, Nr.97 at 288, but the plans fell through and the Italian opera did not go to Russia.]

Schindler again says he would like to find a copy of Beethoven’s lieder. He longs to have them all, and cannot find them complete. Beethoven shrugs them off as trifles, but Schindler says he knows them and they are not.

The benefit concert with the Stockhausen Mass with six harps was today; Schindler wonders how it went. [He was appalled at the rehearsal.]

Schindler mentions he spoke to Karl Scholl (1778-1854), the principal flautist at the Kärntnertor Theater, about the high F trill [probably meaning the F-sharp trill in the Missa Solemnis, which Beethoven must have had Schindler ask about.] Scholl had no problem with it and demonstrated it, though there are secrets to doing it that are not known to all skillful players.

Schindler remembers Beethoven showed him the poster from the last Akademie concert in 1815 [actually 1814] and he would like to see it again. When Beethoven does, Schindler rejects it as not appropriate for a concert poster.

And now the really important concert preparations: does Beethoven have the traditional red stockings and red collar for the concert? Beethoven doesn’t want to do that. Schindler thinks he should make an exception and at least wear the red stockings, even if it is a nasty custom.

Count Lichnowsky and his wife are angry that his name appeared in the Theater-Zeitung, as “it stirred him up that his name was put on display among so many middle-class people.” When the Petition is reprinted again, Schindler will try to see to it that his name is omitted.

Schindler asks whether Beethoven is all right with the prices: does he agree with Duport, to raise them somewhat, as he suggested? Beethoven thinks that’s fine.

Beethoven asks about the Danish ambassador in Vienna, Count Bernstorff, and the King of Denmark’s subscription to the Missa Solemnis. Schindler doesn’t think it’s worthwhile approaching Bernstorff, since he asked that Beethoven be told that he doesn’t get mixed up in the King’s private affairs.

Schindler asks for the bass part for the Ninth Symphony for Joseph Preisinger (1796-1865), the intended bass singer for the Akademie concert. He will have it delivered to Henriette Sontag tomorrow, and she can pass it on to him.

Conversation Book 63, 6r-12r.