BEETHOVEN 200 YEARS AGO TODAY: Thursday, May 20, 1824
Beethoven makes a list of errands for today.
Print the poem [“An die Freude” by Schiller, since the audience has trouble understanding the chorus]
Red pencil [for corrections and proofreading]
Wash handkerchiefs
Write to Bäuerle [Editor of the Vienna Theater-Zeitung]
[Invite Choral director Ignaz] Dirzka for dinner
prestiss[imo]
A separate little table for the coffee mill
+Haslinger: Engrave vocal parts
Unpaid assistant Anton Schindler comes by Beethoven’s apartment in the mid-to late morning. Franz Rzehaczek [collector of antique violins, who loaned several such instruments for the first Akademie] came to visit him this morning, and he raised a question. He wanted to know what contract Beethoven had made with Ignaz Schuppanzigh. Rzehaczek said he had heard that Schuppanzigh’s deal was to get a third of the net income. [Schuppanzigh had actually made a proposal to Brother Johann (which was not accepted) for a third of the net income, but that was for procuring the hall, the orchestra, chorus and soloists, not just for acting as concertmaster.] Beethoven denies that there is any such contract. Schindler reminds him that he was going to pay Schuppanzigh 50 florins for his services; if that is so, then “permit me too to make out my bill.” Beethoven probably throws Schindler out for his effrontery.
Beethoven writes a pair of letters to music publishers B. Schott’s Sons in Mainz today. In the first (undated) letter, Beethoven complains about the press of business. He can’t give them a quartet yet, but he can let them have the Mass and the Ninth Symphony. But they should respond quickly, because two other publishers also want them. [Beethoven had also offered the works to Maurice Schlesinger and Heinrich Probst.] If he hasn’t heard anything about their music journal yet, that would be because it has not yet passed the censors.
Brandenburg Letter 1835; Anderson Letter 1290. The original of this letter is in the Mainz City Library (Hs III 71, Nr.1). The letter bears a May 20 postmark, and was received by Schott on May 27th.
The second letter to Schott, dated May 20, covers much the same ground as the first, but in more detail. It may be that Beethoven wrote the first letter to Schott from memory, mailed it, and only then found the April 27 letter from Schott, which he responded to directly. Unlike the first letter, the second letter is not in Beethoven’s hand, but he signed it. The price of the Mass is 1000 florins C.M., and the Symphony is 600 florins C.M. It can be had if Schott provides three bills of exchange. The first could be drawn upon in one month for 600 florins; the second in two months for 500 florins, and the third in four months for the final 500 florins. “If this would be convenient to you, then I would be gratified if you issue a pleasing edition.” [Schott had proposed four payments over the course of two years.]
Brandenburg Letter 1836; Anderson Letter 1291. This letter is also held by the Mainz City Library, (Hs III 71, Nr.2).
Later in the morning, Schuppanzigh visits Beethoven to ask when the concert will be and where. He thinks the Redoutensaal will be even better and more profitable than the Kärntnertor Theater. Beethoven asks him why he thinks it will be better. “The effect is entirely different in the Redoutensaal than in the Theater.” [The Redoutensaal was much more resonant than the dry acoustics of the Opera Theater.]
Schuppanzigh asks whether conductor Michael Umlauf has had a piano rehearsal with soprano Henriette Sontag and alto Caroline Unger. Beethoven doesn’t think so; Sontag has been in the country.
Schuppanzigh would like to know the ticket prices. When Beethoven tells him that they are 1 and 2 florins, depending on the seats, Schuppanzigh asks why it couldn’t be held tomorrow evening. Beethoven likely tells him that Duport will not permit it, and in any event there is no time to organize a rehearsal for a concert tomorrow night. Beethoven is thinking of having a rehearsal on Saturday, if everything works out.
It’s just as well that it’s Sunday, Schuppanzigh agrees, since he is not entirely well and is taking medication. Beethoven asks what the matter is. “My stomach is in great disorder. My shortness of breath hinders me from making large motions.” [These symptoms were no doubt related to Schuppanzigh’s obesity.] Beethoven asks who he is using as a doctor, and Schuppanzigh replies Dr. Anton Braunhofer, a practitioner of homeopathic medicine whom Beethoven had also used before. Schuppanzigh is doing much better today, and can get around on foot. Beethoven asks him to mid-day dinner, but Schuppanzigh begs off. He can’t eat anything today and probably tomorrow as well, so they can have dinner after rehearsal on Saturday.
Nephew Karl, after Schuppanzigh leaves, says he’ll take the decision to Tobias Haslinger after dinner. Karl believes that between now and Sunday, the only day that the rehearsal could be held is tomorrow. Uncle Ludwig suggests mixing up the concert program a bit, and including one of his piano concertos. Karl thinks that would be fine, and that Carl Czerny could play the piano.
Schindler returns to the apartment, and seeing Karl’s comment, suggests that Beethoven write Czerny a few lines inviting him to play at the second Akademie on Sunday. Schindler can tell him the rest orally. But which one should he play? He has already played Concerto Nr.5 in E-flat, op.73, the “Emperor” Concerto, so it would not be too much trouble for him. Beethoven is unsure whether Czerny would comply, but Schindler assures Beethoven that once he has made up his mind, Czerny will do it.
Beethoven writes a short undated note, almost certainly this afternoon, to Carl Czerny. “Dear Czerny! Do me the favor the day after tomorrow at the large Redoutensaal to play the Adagio and Rondo from my concerto in E-flat, and you will beautify the entire Akademie. Since the choirs have not practiced enough, it is not feasible to do more than one of the hymns. I hope that you will not refuse my request.”
Brandenburg Letter 1838; Anderson Letter 909. Although Sieghard Brandenburg suggested the date of the letter would be tomorrow, May 21, two days before the Akademie, that chronology does not quite work. By “the day after tomorrow,” Beethoven must have meant the rehearsal for the Akademie, and then the Akademie the next day. The original is in the Bonn Beethovenhaus H.C. Bodmer Collection BBr 12, and can be seen here:
https://www.beethoven.de/en/media/view/5574559277252608/scan/0
Looking back at Schuppanzigh’s comments, Schindler agrees that Duport wants to have everything in the Redoutensaal, since the effect is lost in the Kärntnertor Theater. [Several reviews complained that much of the sound was lost in the wings of the Kärntnertor, which was really best suited as an opera theater.]
Returning to Czerny, though, Schindler opines that probably he should just play the first movement. The entire concerto is too long. He and Karl calculate that keeping just one of the three movements of the Missa Solemnis [the Kyrie] and one movement of the Concerto, that would run about two hours, ending at 2:30 p.m. Playing the entire concerto could be reserved for the third Akademie concert. Since Czerny has a great following among the nobility, Schindler thinks that his taking part would “also be effective upon these dull-spirited individuals.”
But in any event, Beethoven has nothing to worry about except the printed parts.
Karl asks what has been decided with the rehearsal. After dinner, Karl will go to Haslinger’s to meet the orchestra servant at 4 o’clock. Meanwhile Schindler will go to see Czerny and Duport, then return straightaway to let Ludwig know Czerny’s reply. Schindler will take along the score of op.116 for Duport to look at and get his approval. The rehearsal will need to be decided after that.
Schindler mentions that he went to see conductor Michael Umlauf, but he was not home. His wife sends her greetings though, and assures him that her husband will certainly come to Beethoven tomorrow at 1 o’clock. If he is prevented from coming, he will make other arrangements and send a report.
Schindler believes the female soloists will do better this time. They did not feel too weak at the beginning, and now that they have received cutting remarks about their performance in public, that will be a good prescription for them.
After discussing it between themselves, Karl and Schindler decide that they will make the visits together. They will both see Czerny. Karl will go to his discussion class, and then they will both go to Steiner’s to make sure that Duport is not taking advantage of Beethoven by the application of expenses. But Uncle Ludwig still needs to decide whether a third of the net income is better than the guaranteed 500 florins. If it is not, Karl thinks they should ask for 600 florins.
They go to run their errands (and Karl goes to class, though Schindler forgets to take the score to op.116 with him). Later that afternoon, they return. Czerny made a thousand excuses that since he is absolutely unprepared to play in public he will have to excuse himself. They went from there to see Duport, who asked whether Beethoven had anything ready for the concert. Schindler told him yes, a vocal trio [Tremate, empi, tremate, op.116], but (trying to cover the fact he has forgotten to bring the score) he wasn’t sure whether Beethoven was still intending to include it in the concert. So Duport would like to have it sent to him so he can look it over for a minute. If it is not too difficult, he would have it copied out by Saturday and then the Italian members of the Opera could sing it.
Schindler gives Beethoven the contract with Duport, and asks that he sign it. He’ll bring the counterpart, signed by Duport, at midday tomorrow. Schindler asks what the poster should say about the Terzet. Should it say “not yet heard?” Beethoven says that will not be accurate, since it has been played before. [The final poster announces it as “a new Trio,” apparently at Duport’s behest.]
Schindler and Karl here shift to what is now part of Conversation Book 69. This short “book” of only 9 leaves appears to have been assembled to include at least three pages originally from Conversation Book 68; the first and third leaves seems to come from May 22, and the second from today, based on the content.
Schindler says “He” [probably Czerny] is also in favor of the 500 florin guaranteed payment.
Schindler will come briefly tomorrow morning for the orchestral parts for the Terzet op.116. He will then take them to Frau Schlemmer for copying. But he will spend tonight at the nearby Gasthaus Zur goldenen Birne, because the weather is too bad. [According to the Wiener Zeitung report, on May 20 it rained the entire day, but it did not rain on May 21. Wiener Zeitung Nr.118 (May 22) at 500, and Nr.119 (May 24) at 503.]
Uncle Ludwig ponders who should be on the list to get free tickets for the Akademie, now that a decision has been made. Karl doesn’t think they will get so many. Dr. Staudenheim should get one, and Uncle Ludwig’s attorney Johann Baptist Bach, conductor Umlauf, Unger, Sontag, and Rzehaczek, etc. Uncle Ludwig pares that list down to Sontag, Unger, Umlauf, and Bach, but adds the Leidesdorf family, perhaps thinking that he would revive the idea of Sauer & Leidesdorf publishing his Complete Works, much as they are doing for the operas of Rossini and Mozart.
Conversation Book 68, 8v-15r; Conversation Book 69, 2r-2v.
Possibly this evening, Carl Czerny writes Beethoven a letter explaining in more detail why he would not be able to play at the Akademie. “I sacrificed the best 15 years of my life giving lessons to support myself and my parents. Composition and especially playing remained a secondary matter to me, because I lacked any encouragement and relief. In particular the latter (playing) could not possibly be cultivated to the degree expected of my abilities, given the kinds of demands that are now made of virtuosos. And now I – having been out of practice for 14 years, to perform in front of the large audience of connoisseurs of Vienna – suddenly, and without any preparation, with barely two days to practice – produce one of your greatest, most well-thought-out compositions! And what’s more, in the most dangerous place that exists for the piano player! The large Redoutensaal is the most dangerously unforgiving place for this instrument, and every pianist who has played in it so far has regretted it.”
“Incidentally, it is not out of consideration for myself, but the well-founded fear that I cannot possibly present your great work in this short hasty period of barely 2 full days. As perfectly as my unlimited respect for you and yours extends, this is the reason I am forced to decline this honor.”
Czerny continues, “In order to perform as a virtuoso, I would need at least three months time to fully practice my mechanics again. The greatest pianists of our time sacrifice their health, their whole life and their whole existence for this purpose. They only feel happy when they are able to satisfy the criticism to some extent. I am convinced that nothing can make me more worthy of your friendship than this openness, which is not intended to benefit me, but rather Art and a good cause.”
Brandenburg Letter 1839; Albrecht Letter 366. This letter exists only in a draft, which is found in the archives of the Gesellschaft der Musikfruende (Czerny 65). Presumably Czerny sent Beethoven the original letter, which is now lost. Sieghard Brandenburg finds it hard to understand how Czerny could possibly be so out of practice as he claims, considering he held regular informal salons, and had played the concerto as recently as 1818. Perhaps he was simply uncomfortable playing for large audiences, especially at an event that was so important to his former teacher, with inadequate rehearsal time.
At the very end of the last page of today’s Wiener Theater-Zeitung, there is a quite brief announcement for the second concert by Beethoven, to be held tomorrow, May 21, in the Court Theater near the Kärntnertor. Although there would be a second concert, this announcement is wrong in both the date and the venue, indicating the indecisive state of flux for the second concert, which certainly could not help increase attendance. The date and venue had already been changed to the Redoutensaal on the 23rd two days earlier, though it seems no one thought to alert the media.
Regular readers of our column will be familiar with Professor Theodore Albrecht, whose ongoing series of the English language editions of the conversation books are the framework that this feature is built upon, with his kind permission and assistance. Prof. Albrecht has a new book on the premiere of the Ninth Symphony from Boydell & Brewer press, and there’s no better way to celebrate the bicentennial of this event than to read the detailed accounts that reconstruct and clarify the historic events leading up to these epochal concerts.
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https://boydellandbrewer.com/9781837651054/beethovens-ninth-symphony