BEETHOVEN 200 YEARS AGO TODAY: Thursday, April 15, 1824

Conversation Book 62 begins being used this afternoon. It is comprised of 31 leaves (62 pages), with writing on all pages (though some of that writing is fraudulently entered by Schindler after Beethoven’s death). The book covers about six days of time. The books are getting filled more quickly now. Part of the reason is that there is plenty to talk about with the plans for the Akademie concert, but it also reflects Beethoven’s increasingly bad hearing. Where two years ago he could often hear Karl speak, he seems unable to hear him at all now. Karl writes nearly everything out for his uncle. The talkative Anton Schindler also writes quite a bit, though he is only coming to Beethoven a few times per week currently.

Nephew Karl reports that the woman that the current housekeeper wants to have as the maid came to the apartment. This maid is still working for Countess Stockhammer, where the housekeeper formerly worked. His opinion is that they keep their current maid. If she doesn’t work out, there are plenty of others in Vienna to choose from.

Uncle Ludwig makes a comment about the pitiable situation of his brother Johann. Karl agrees, his wife Therese and her daughter Amalie “torment him like blazes, and he is not man enough to give it back to them.”

Ludwig asks why Karl thinks that they should keep the current maid. Karl thinks she is energetic in her work; she helped with the windows. She spent a bit much on vegetables this morning, but she excused herself saying it was a rarity. But Karl does think they were shorted on the veal; at 40 kreutzers there should be 2 pounds, and there is barely 1.

Schindler stops by to report that alto Caroline Unger is quite indignant with Kärntnertor Theater manager Louis Antoine Duport for his unwillingness to let her sing in Beethoven’s Akademie concert. Both Unger and Henriette Sontag are going to visit him today to give him a piece of their minds. Unger is confident that the result will be a success.

Schindler also reports that Brother Johann has a chest cold. Schindler blames him for always walking around in this weather with his vest and coat open.

Karl mentions that he saw Barbara Holzmann, their former housekeeper (the “old woman.”) She is going into the hospital soon, but if they need her even after she goes there, she would be happy to come. [The “hospital” is the St. Marx home for the aged and poor, at Landstrasse 490.]

Karl is curious as to what Duport will say when the two girls come after him. When he talks to Beethoven, he always presents himself as his most sincere friend and admirer.

There is discussion about the copying by Peter Gläser. Schindler didn’t think Ludwig and Karl should have gone to him themselves the other evening. At least Schindler should have come along. He has his doubts about whether the copying is coming along quickly enough.

Beethoven mentions that Joseph Bernard will be publishing a notice in the Wiener Zeitung, and Friedrich August Kanne will be doing the same in the Vienna Allgemeine musikalische Zeitung, about his gold medal being awarded by the King of France. The AMZ will even have a lithographic reproduction in a supplement. Karl thinks that the Modezeitung would have been better, since it has more readers. But Kanne approached Beethoven about it first.

Karl mentions that Count Lichnowsky “is really an old lady. He chanced to learn from your brother your decision to give the Akademie in the Landständischer Saal. He lamented terribly about the enmity that Palffy [the manager and owner of the Theater an der Wien, where the concert was previously going to be held] is developing toward you.”

Karl (perhaps reporting what Schindler is saying) tells his uncle that yesterday Ignaz Schuppanzigh said that they are surprised to see “people of such bad repute going into and out of your house.” The waiter in a restaurant where Schuppanzigh goes told Schuppanzigh that “if he sees him in the street, he would have him arrested by the common police.” [Who “him” is here is unclear; editor Theodore Albrecht suggests it may be Brother Johann and his family, who are constantly feuding in public.]

Count Moritz Lichnowsky comes by Beethoven’s apartment with a carriage. He insists Ludwig come home with him, as he has many things to discuss. Ludwig is unwilling, so Karl suggests that he could come along. Finally, Ludwig and Schindler go with Lichnowsky, while Karl goes to visit Uncle Johann.

Lichnowsky is as Karl mentioned very much concerned about Beethoven’s change of plan to move the Akademie to such a small hall, where all the effect would be lost. He says he is merely concerned for Beethoven’s welfare. “There are absolutely no difficulties in the Theater an der Wien, and you will earn more income.” Beethoven objects that he may not be able to present the three movements of the Missa Solemnis there, even if they are called “Hymns.” Lichnowsky points out that Kapellmeister Ignaz von Seyfried has already performed church compositions there. Beethoven asks, what about the Censor? Lichnowsky replies that’s a matter for the director of the theater.

Schindler (who has to this point said nothing about the change of plans for the concert, and seems to have known what Lichnowsky was going to do) points out that on April 25, the same day as Beethoven is planning to have his Akademie concert, there is a concert by the Ladies’ Society in the Redoutensaal. Unger and Sontag and the Italian singers are going to be there, so the girls are already engaged. The nobility will go there, making April 25 a loss. Schindler agrees with Lichnowsky about the size of the hall: “The Viennese already have a joking bon mot, that the great Beethoven wants to give a concert in a nutshell.”

Plainly angry, Lichnowsky says he reached an agreement in Beethoven’s name with Count Palffy about the Theater an der Wien. “Tell me what I am now to answer to Count Palffy, because an answer is surely owed to him.” Beethoven is relying on his brother, Steiner and Haslinger, who thought the Landständischer Saal better suited and less expensive. “If you have more confidence in these men than in me, then you are right. But Count Palffy must be apprised of your decision soon, because I am still involved in this,” Lichnowsky adds.

Schindler mentions that the Musikverein is simply too weak for such colossal works. “Where will the power and the effects be that lie therein? Is it possible to awaken them with this orchestra? No, by God, it is not!!”

Only half an hour ago, Joseph Blahetka told them that his pianist prodigy daughter completely filled the Landständischer Saal and that amounted to only 540 people [roughly 1/5 of the Redoutensaal, depending on how it was arranged, and less than a quarter the size of the an der Wien.] They did make money, because the hall was packed, but for this concert the orchestra needs to be enlarged, which means even less room for the audience.

Schindler warns Beethoven, “Consider it well, my dearest friend, before you make a firm decision.” Beethoven should rely on Lichnowsky, rather than the advice from the Paternoster Gässchen [where S.A. Steiner and Tobias Haslinger had their music shop.] Schindler had heard about this change in plans through Beethoven’s attorney, Johann Baptist Bach. “I’ve been silent up to now, but if you listen to this, then consider what kinds of friends these are.”

Schindler reveals that Steiner & Co. went to Bach to try to force Beethoven to make payment on the money he owes, having missed several deadlines. [Beethoven was supposed to make payments to Steiner every April 15 and October 15 starting in 1821, but apparently made only one, last year.] But Schindler [who used to clerk for Attorney Bach before becoming a professional musician] explained to Bach how Beethoven’s affairs stand. Bach then wrote to Steiner asking how he could make such a demand upon Beethoven now. Steiner still insisted, but Bach remained steadfast. Is Beethoven to listen to such friends? Schindler also thinks that the partnership of Steiner and Haslinger is breaking up. But clearly, Steiner is going to have to be satisfied soon.

Beethoven is defeated and finally gives in. They are back on at the Theater an der Wien, and will just have to delay the concert for a week or so in order to give the orchestra and chorus sufficient time to rehearse. Satisfied, Schindler says he will prepare a draft of the advertising poster, which he can give to Wilhelm Vogel, business manager of the an der Wien, yet today. At the longest, Beethoven will know in 2 days how he stands. [Schindler probably is referring to the anticipated response from the Censor as to whether the movements of the Missa Solemnis may be performed as “Hymns.”]

They return to Beethoven’s apartment, where the news is given to Karl. He can’t contradict the Count that the Theater an der Wien would be more worthy of his uncle. “It is enough knowing that the Landständischer Saal only holds 500 people. No-one from the high nobility will come there, and even fewer from the Court….The Court will certainly come to the Theater [an der Wien.]” So that probably makes Uncle Ludwig feel better about the new change of plans.

Ludwig, worn out by the arguments, thinks he needs more feather pens. Karl tells him a bundle of 24 costs about 4 florins, so each pen comes to ten kreutzers.

Conversation Book 62, 1r-9v.

The Wiener Theater-Zeitung today publishes on its first two pages the Petition from various music lovers to Beethoven back in February, asking that the Missa Solemnis and Ninth Symphony be premiered in Vienna and not elsewhere. The prefatory note states that “The following letter comes from an association of noble-minded people.”

After the Petition, the editor, Adolf Bäuerle, adds the following comments: “This honorable and uplifting letter has brought about that Mr. L. v. B. is to have performed the great symphony and the great Mass, written in the style of an oratorio, and other new major works, under his personal direction. This should take place on April 22nd or 23rd in the Theater an der Wien, by the entire staff of the Theater an der Wien and with the participation of the local musical association. Regarding the second request [for a new opera], L. v. Beethoven has already adopted ‘Melusine‘, with Grillparzer composing the excellent book. The administration of the imperial Court theater next to the Kärnthnertor is to decide when this will be presented, and we can only wait for this wish to be realized.”

“We announce this event with joyful feeling, and are firmly convinced that the real musical world will essay this with the deepest joy and the warmest admiration for the so many wonderful names who signed it, as well as for the great master. It was directed so successfully that it is preserved to document one of the most interesting dates in German music.”

The Theater-Zeitung not only prints the Petition in full with this commentary, but also publishes the names of each and every signatory, including Prince C. Lichnowsky, Count Moritz Lichnowsky, Count Moritz Dietrichstein, Count Ferdinand v. Palffy, Count Moritz Fries and Count Ferdinand Stockhammer, alongside commoners and businesses such as Artaria & Co., Andreas Streicher, M.J. Leidesdorf, Vincenz Hauschka, Anton Halm, Abbé Stadler, Carl Czerny, Zmeskall, Leopold Sonnleither, S.A. Steiner & Co., and Anton Diabelli.

Though probably well-intentioned, this publication of the Petition provokes a major rupture in Beethoven’s circle. Seeming to believe Beethoven himself to be behind this publication of his name appearing alongside those of commoners, when supporter Count Moritz Lichnowsky finds out about this article (he clearly does not know about it when he meets with Beethoven today) he will be completely outraged. However, with so many interested parties as signatories, the Petition could have been leaked to the public by nearly any of the signers or anyone who chanced across a copy. Editor Bäuerle was associated with a number of people who were signers. Beethoven almost certainly was not involved either directly or indirectly, since his plans continued to change almost by the day and he would not have been interested in being pinned down in this manner.

Between the embarrassments related to negotiations with the Theater an der Wien, and the publication of the Petition in the Theater-Zeitung with his name listed amongst commoners today, Count Moritz Lichnowsky has had enough. Although he will attend the Akademie concert when it occurs, he never writes in the conversation books again and essentially drops out of Beethoven’s circle of friends.

Beethoven is in the news today on several counts, for the front page of the Wiener Zeitung, Nr. 87 at 373, contains a brief notice of Beethoven being awarded a gold medal by Louis XVIII of France: “In recognition of the transmission of the score of his new Mass, His Majesty the King of France presented the local composer Ludwig van Beethoven with a gold medal bearing the portrait of His Majesty, with the inscription on the back: ‘Given by the King to Hrn. Beethoven.'” Beethoven was plainly and justifiably proud of this royal gift, and was showing it to all of his friends, including Wiener Zeitung editor Joseph Bernard. He also hopes that it would induce some to attend his Akademie benefit concert, who might not have otherwise. Unfortunately, in the process of all this handling the medal gets damaged slightly.

On page 375 of today’s Wiener Zeitung, J. Bermann once again advertises Beethoven’s Aria with piano accompaniment, Das Glück der Freundschaft, op.88.

Today, Maundy Thursday, a charitable concert is held in one of the main churches of Copenhagen. The first half is a great Mass by Luigi Cherubini. The second part of the concert is Beethoven’s Christ on the Mount of Olives, op.85. According to the correspondent’s report in the October 12, 1824 Wiener Zeitschrift (Nr.123) at 1071, “The part of the Seraphim was sung by a female singer who burst into an unpleasant shriek, especially in the higher notes, which spoiled the whole illusion. The orchestra played masterfully.”