BEETHOVEN 200 YEARS AGO TODAY: Thursday, May 27, 1824

Beethoven likely drafts an undated note about now to former unpaid assistant Anton Schindler, making the break between them permanent: “I ask you not to come to me at all, under any pretext, either alone or with anyone else.” [Here two lines are illegible, where Beethoven has written on top of his first version.] “I am saddened in any case that it happened the third time.”

The draft letter, found in Conversation Book 70 at 7v, is attached. The actual letter appears not to survive, unlike most letters that Schindler received from Beethoven, which he so carefully preserved.

We suggest that the “third time” might refer to a request by Schindler to be paid for his services, who had hinted broadly that he would like recompense multiple times, once he learned that Ignaz Schuppanzigh was being paid. The two previous times Beethoven had broke things off with Schindler it was in response to such a request: first last summer when Schindler had accompanied him to Baden to find an apartment, and the second in connection with the first Akademie concert in early May. This third pleading for money may have been the last straw in Beethoven’s mind.

Beethoven is in his Vienna apartment in the afternoon, where he is joined by Nephew Karl. He now understands why former housekeeper Barbara Holzmann (“the old woman”) seemed often so strange that he thought she was sick. [Karl appears to suggest she was overworked.] But it would be bad to take the current housekeeper to the country, if things went there as they do here. She seems annoyed. But the old woman, in spite of her years, was much more active. And she might also be too old; he thinks she is over 70 years of age. The gentleman in the Wollzeile gave her vermouth because she always bought wine there.

Brother Johann also drops by. The essay discussed yesterday about the Akademie concert that is to be sent to Berlin and Leipzig for publication is very fine. Johann only knows what the author looks like, but does not know his name.

There is more discussion about whom the dedication of the Ninth Symphony should go to. Obviously it would be more advantageous to name some great personage in another country, like the Czar of Russia, who would doubtless send a gift in appreciation. Johann thinks that the letter from Prince Galitzin about the premiere of the Missa Solemnis should be read to Adolf Bäuerle, editor of the Allgemeine Theater-Zeitung.

Karl says a trumpeter was here today, and was like a beggar. He wanted to see Ludwig, so Karl asked whether it was urgent, and the trumpeter replied it was very urgent. Ludwig grumbles that he probably heard he had picked up his 500 florins for the Akademie concert. Johann doesn’t think he would have any way of knowing that. [Editor Theodore Albrecht suggests that the trumpeter may have been from the Josephstadt Theater, offering their services for any projected concerts that included the Consecration of the House Overture, since they had played it numerous times.] Johann notes that they have sometimes offered their services at no cost.

Johann says that the rain has certainly not spared the fields on his estate in Gneixendorf, just as artist Stephan Decker arrives for the appointed sitting by Ludwig, sometime between 4 and 6 in the afternoon. He will be making a chalk drawing, which will then be lithographed. While he sits, Ludwig (always in the market for new lodgings) is interested in where Decker lives, how much it costs, and whether it has good light. Decker says he has a lovely apartment on the Glacis, near the Hungarian Guard, in the Tapestry Maker’s House. It has the morning sun and the view of the entire Glacis. It is only a six minute walk from the City. He has 3 rooms and a kitchen, and pays 400 florins W.W. for it. There are almost always apartments available in this building. Decker would not exchange his rooms for Beethoven’s apartment, even though it’s 100 florins cheaper. The rent is due quarterly there, and Beethoven certainly can come to look at it.

The light in Beethoven’s apartment is not the best, so Decker lights three candles to properly illuminate his subject. Decker wraps up his sketching in about 45 minutes, and says that there will be copies of the portrait available already on Tuesday, June 1. He will come back in a couple days with the finished portrait for Beethoven’s approval.

Returning to the trumpeter and the Consecration of the House Overture, Johann observes that while they may play it a good deal, they also give it poorly. He ran into Schindler, and was so short with him that hopefully he will not come back any more.

Johann notes that the orchestra was 6 violins short for the second Akademie, since they were insulted by being described in the newspapers as dilettantes. Ludwig grouses about the poor income from the second Akademie. Johann points out that with his guaranteed 500 florins for the second Akademie in the Redoutensaal, he did better financially than on the first Akademie at the Kärntnertor Theater.

Karl chimes in that the Consecration of the House Overture “made an overwhelming effect.” Johann suggests that Ludwig could give 3 Akademies on subscription next fall, for a set price.

Johann will be coming with “the Jews” tomorrow at 9 o’clock. [Johann refers to the bankers who are to pay over money upon receipt of scores for the works being sold.] So Ludwig should have the 2 lieder and the Bagatelles ready as soon as they are here. [That is, the Opferlied op.121b, Bundeslied op.122, and the Eleven Bagatelles op.119.] Johann will report back in the afternoon. He reminds Ludwig not to forget the letter to Galitzin. Ludwig asks whether the sale is certain. Johann says they have given him their word. [There is no sign of such a visit in tomorrow’s conversation books, so they may not have come after all.]

Conversation Book 70, 7v-11r.

Mainz publisher B. Schott’s Sons writes to Beethoven today. They accept the terms set out by Beethoven in his letter of May 20, 1824 for the method of payment for the Missa Solemnis, op.123, and the Ninth Symphony, op.125. They also ask again for the rights to the new quartet, which was previously offered to them in March. [This would likely be op.127, which unbeknownst to them is barely started beyond some sketch work.]

Brandenburg Letter 1842. The original is not known to exist. Its contents and date can be surmised from the May 20 letter referenced, and the reply by Beethoven on July 3, 1824.

The brief Theatrical-Musical Guide section on page 256 of today’s Allgemeine Theater-Zeitung (Nr.64) contains a report of the premiere of the Missa Solemnis. “In St. Petersburg, Beethoven’s new Mass (they call it an oratorio) will soon be performed publicly. It is assured that all signers and musicians will flock to take part in this great work.” Of course, the premiere had already occurred a month earlier, but news likely traveled slowly from St. Petersburg. Johann probably saw this report, which would explain why he thought Ludwig should show the editor the letter from Galitzin about the premiere.

Today’s Leipzig Allgemeine musiikalische Zeitung, Nr. 22 at 352-53 contains a report dated May 3 from Munich about the last six subscription concerts there, taking place between March 8 and April 27. During those concerts, Beethoven’s Symphony Nr.2 in D op.36 was performed, as was Mozart’s Symphony Nr.40 in G minor. Among the vocal works performed in those concerts (most likely around Easter, April 18th) was Beethoven’s Christ on the Mount of Olives, op.85.

According to the December 15, 1824 issue of the Vienna Allegemeine musikalische Zeitung (Nr.100 at 399), which contains an overview of Masses, etc. that were performed at the Augustinian court parish church over the year, Beethoven’s Mass in C, op.86, was performed there today by a group of dilettantes under the direction of Ferdinand Piringer, who recently filled in briefly as one of Beethoven’s unpaid assistants.