BEETHOVEN 200 YEARS AGO TODAY: Sunday, December 11, 1825

Nephew Karl comes to visit Uncle Ludwig at the Schwarzspanierhaus apartment. He is dismayed to find that the maid has washed something she probably should not have.

Karl reports that Frau Schlemmer, the wife of his landlord from whom he is renting rooms, gave birth to two boys last night, Johann Baptist Eduard and Karl Moritz Schlemmer. [They will be baptized today.]

The current housekeeper, Theresia Adelmann, wants to make her two daughters into governesses, Karl thinks. She is giving her older daughter piano lessons. But she herself is still very weak on the piano, he reports.

Uncle Ludwig would like to go for a walk after dinner. Karl says he would gladly walk with him, until it is time for the Schuppanzigh Quartet concert at 4:30.

Dinner is a meat pie, although Uncle Ludwig had ordered capon. Karl inquires with Adelmann, and she says that she is reserving the capon for this evening’s meal. They can leave the leftover pie for her daughters. The capon has been put away, since Adelmann bought it with the intention that Ludwig would eat from it in the evening. Uncle Ludwig doesn’t want to feed her daughters. Karl says they are not eating anything more here at the house. Adelmann wants to make a frittaten or a fruit dish. Uncle Ludwig doesn’t want them eating the capon; Karl clarifies that they will not eat the capon; they have enough. They’ll eat the pie.

“She only asks that you be so kind as to eat the capon in the evening, because she assures you that they won’t eat it in any case. They have quite enough.”

After dinner, Ludwig and Karl take their walk, until it is time for Schuppanzigh’s concert. Karl goes to that, and Uncle Ludwig visits a coffee house. First he copies down an advertisement for a governess, a real French woman, German, geography, history and drawing. Then he writes out a sketch for the first seven bars of the string quartet op.131; this may be the first work on that quartet. [See attached sketch from leaf 21r.]

Conversation Book 99, 18r-21r.

At the Musikverein, the Schuppanzigh Quartet performs its latest subscription concert at 4:30 in the afternoon today. The pieces played are Haydn’s Lobkowitz Quartet in G [Nr.66, op.77/1, Hob.III/81]; the Erdödy Trio in E-flat by Beethoven, op.70/2, with the piano part played by Anton Halm; and the Septet op.20 by the same Master. According to the Allgemeine musikalische Zeitung Nr.4 of January 25, 1826 at 68, “all pieces received unanimous applause.”

The December 31, 1825 Wiener Zeitschrift (Nr.157) at 1305-1306 contains a fuller account of this concert. “The first piece was performed in G major, by Haydn, which was distinguished by its warmth of performance. This was followed by a Trio by Beethoven in E-flat major, for piano, violin and cello, performed by Herr A. Halm, Schuppanzigh, and Linke.”

“Art lovers were all the more excited about this composition because Herr Halm had not been heard from for some time. The expectations of the large gathering were not only satisfied, but even exceeded. All admirers of Beethoven’s works unanimously affirmed that they had never heard this piece more perfect. In terms of confidence in the most difficult passages, magnificent feeling, and soulful performance, this artist is undoubtedly our first master on the pianoforte. But to justify ourselves on this, we must first ask the question, whether he is a greater artist who surprises, through mechanical artistry, or one who knows how to ignite with feeling, dignity and sublimity of performance? Without doubt the latter, and thus Herr Halm can safely be set up as a model for all aspiring piano players. The two virtuosos mentioned above accompanied so perfectly that the only remaining wish was to hear similar pieces from this group very often.”

“Herr Halm let us hear for the first time a patent fortepiano invented by Herr J.B. Streicher, with the hammer striking from above, whose noble, melodious sound satisfied everyone present and at the same time completely refuted the prevailing opinion that this type of instrument was less suitable for concerts than for chamber music. According to reports, Herr Halm has already owned this instrument for a year, and we can happily recommend its durability as well as the strength and beauty of the sound.”

“Thirdly, a Septet by Beethoven followed, performed by Messrs. Schuppanzigh (violin), [Franz] Weiss (viola), [Joseph] Linke (cello), [Joseph] Friedlowsky (clarinet), [August] Mittag (bassoon), [Michael] Herbst (horn), and Mälzl (double bass), with such excellence and characteristic precision that every listener left the hall highly delighted.” [This was largely the same group that had performed the Septet at the Schuppanzigh Quartet concert held on March 14, 1824.]

The review in the Wiener Theaterzeitung of December 24, 1825 (Nr.154) at 632 added, “One cannot hear anything more excellent in each of these genres. The quartet, as usual, was made up of Messrs. Schuppanzigh, Holz, Weiss, and Linke. In the Trio, Herr Halm played the piano part and distinguished himself as a great musician on his instrument. Bravura, confidence, and a performance of insight and skill characterize this virtuoso. It was a trio of three homogeneous virtuosos, for Halm’s style suited Schuppanzigh’s as well as he suited Herr Linke’s. The Septet went excellently. It was a pity that the double bass wasn’t in perfect tune in the first movement. Those present are all great masters of their instruments, and performed the brilliant grand master’s heartfelt tone poem with all respect, all passion, and all enthusiasm.”

According to Thayer/Forbes at 970, the bassoonist in today’s performance of the Septet August “Mittag related to Thayer the following anecdote. Going home one evening, he stepped into a tavern known as “Zum Dachs” to drink a glass of beer. Smoking was not allowed in the place and there were few guests. In a corner, however, sat Beethoven in an attitude of one lost in thought. After Mittag had watched him a few minutes he jumped up and called to the waiter: ‘My bill!’ ‘Already paid!’ shrieked the waiter in his ear. Mittag, thinking that Beethoven ought not to be left alone, followed him without betraying himself and saw him enter his house safely.”