BEETHOVEN 200 YEARS AGO TODAY: Thursday, June 15, 1826
Beethoven works on an errand list relating to violinist Joseph Böhm:
- with Böhm about a violin method
Above the Creuzerische put Böhm’s application
Nb: Another name for Kreutzer’s violin method [this related to the Méthode de Violon by Biallot, Rode & Kreutzer, published in 1803 in Paris, later in German editions under the name Violonschule von Rode, Kreutzer und Baillot.]
Beethoven goes out to mid-day dinner at a local restaurant or inn. Writer, composer and editor Friedrich August Kanne joins Beethoven. Kanne had recently written a libretto for the Kärntnertor Theater, Mainacht. Kanne appears to be unaware that the theater management had offered the libretto to Beethoven to set to music. Kanne is one of the very few people Beethoven allowed to address him with the informal “du.”
Kanne believes Duport does not know what to think about Mainacht. Joseph Gottdank, a singer and director at the Kärntnertor Theater, and others seem to be his enemies. He believes his libretto is surely impressive and romantic. He has not yet been paid for it, however. “The devil will not hand over the money. I assure you on my honor that [Anton] Schindler very well knows that Duport said to ma “au Plaisir de Vous revoir.” That was all.”
Beethoven’s collected works are the subject of discussion. Kanne tells Beethoven he should change his writing [in various compositions] by 20 bars. The publishers will likely issue it as series by genre, like the Hoffmeister Bureau de Musique publishing house did for the collected works of Bach and Mozart. “Announce in the newspaper that you have improved your compositions, and that because of that, the former editions cannot be recognized as adequate.”
Beethoven mentions opera singer Nanette Schechner, whom he was expecting to come visit him yesterday. Kanne says that recently she lost her voice completely for half a minute, in a performance of Rossini’s La gazza ladra earlier this month.
Knowing Beethoven’s fondness for wordplay, Kanne asks where the wooden man is [Holz in German meaning wood.] “He admires you sincerely.”
Kanne brags he has not bought a book in 20 years; instead he studies at the University Library.
Joseph Bernard’s libretto for Der Sieg des Kreuzes comes up [Kanne had tried editing the oratorio, Victory of the Cross, into a useable form last year.] He jokes, “Will the cross win?”
Kanne explains that he came to join Beethoven because he was told Beethoven ate here often.
Kanne says he has waived 2,000 florins that they would have had to pay him, which amounts to a year’s salary, for so much is overdue according to his contract. “The rats are eating my literary works,” suggesting that the prolific Kanne writes things that never get used or published. He has also composed for them a fugal overture for three trumpets with orchestra. Like Beethoven, he values his freedom. But the theater management are Philistines who certainly do not.
Kanne asks how Beethoven likes Graf’s machine for making the piano sound louder. [Unfortunately, Beethoven’s response is not recorded; he may tell Kanne that he has not had a chance to try it out properly, since the Broadwood had still not been returned to him as of two days ago.]
Various other pieces of musical gossip, much of it obscure now, are touched upon. Kanne asks Beethoven whether he drinks coffee, which he certainly does. Gottfried Weber’s article questioning the authenticity of the Mozart Requiem is mentioned. Kanne says that “Herostratus set fire to Minerva’s temple in order to become famous, just like Weber with the Requiem.”
Publisher Tobias Haslinger has again compiled a mass for the sick, Kanne adds. After all, the healthy do not need one. He is publishing it himself; Steiner has turned over management of the publishing house to Haslinger completely.
Kanne says he must go, and departs.
Conversation Book 112, 34v-39v.
S.A. Steiner & Co. advertises in today’s Wiener Zeitung (Nr.135) at 574 the Rondeau brillant Nr.3 for piano four hands, op.102 by Carl Czerny, Beethoven’s former pupil.