BEETHOVEN 200 YEARS AGO TODAY: Wednesday, July 26, 1826

Unpaid assistant Karl Holz and Nephew Karl join Ludwig for mid-day dinner today, probably at a restaurant near Karl’s rooms. Beethoven is still interested in going to the baths at Ischl. Holz suggests they could go together, but there is no good view from there these days. Holz comments that it is quite comfortable where they are.

Ludwig brings up Thekla Kneisel (1802-1832), who sang the part of Marzelline in Fidelio in 1822. Holz tells him that she is at the Theater an der Wien currently. Her husband, Franz Kneisel is a stable master.

Holz has a number of questions regarding the score to the quartet op.130, which Mathias Artaria is trying to get into print. In the Adagio Cavatina, there is a spot in the cello part [at bar 4] that cannot be reached with the fingers, with a double stop on B-flat, one a quarter note and the other a half note. Holz quotes this and suggests what he believes is a more playable version, making them both quarter notes. “1 b-flat on the G — the same also on the C.” Beethoven responds with the E, followed by the A from the fourth movement of the quartet, which it echoes. Beethoven does not accept the suggestion [which may actually be the suggestion of cellist Joseph Linke]. Holz says he thought it might have been different in the full score.

Also, in the first movement of the quartet he found something. In the 2nd violin part there is one unclear note, and he could not tell if it was supposed to be a G or G-flat from the part. He didn’t have any other parts to be able to compare. “I must have played it but even while playing, one overlooks such key signatures.” [That comment cannot have pleased Beethoven.]

Beethoven brings up the parcel from Schlesinger that went through the Tendler book shop. Haslinger was not happy about being cut out of association with Beethoven. Holz reports that Tendler simply said the whole matter was not Haslinger’s concern. Beethoven asks why Haslinger should think it’s any of his business. “Because of the handover of the parcel and the money. He thought it ought to be his concern, since after all, he is a music dealer.”

Beethoven asks about the French opera and vaudeville that is currently running at the Kärntnertor Theater. “The voices of the French singers are so bad that they can only sing accompanied by a very small orchestra.”

Holz asks Beethoven the name of the painter who painted the portrait of Beethoven that was in the Vienna Art Academy. Nephew Karl apparently comes up with the name, [Joseph Karl] Stieler. [This is the famous portrait of Beethoven holding the score of the Missa Solemnis.]

The Leopoldstädt Theater is a good theater, as popular theaters go, but Holz says there are many disreputable girls there, like at a market. “It is a Viennese entertainment.” Beethoven asks about the ongoing disputes between actor/bassoonist Ignaz Schuster (1778-1835) and Ferdinand Raimund (1790-1836) at the theater, with them quarreling violently. Schuster is no longer popular, Holz indicates. Raimund is better liked. Schuster also has a brother who is an actor at that theater.

Ludwig is interested in publishing the notice that his mail should no longer be sent to Haslinger, but rather directly to him. Karl says he should publish the notice with the changes that Holz made. Holz points out that the announcement was addressed to all of Beethoven’s correspondents. “It goes without saying that it is also addressed to those who have something to send to you.”

Beethoven is displeased that he has not yet received his copy of the quartet in E-flat major [op.127] that was recently published by Schott. Holz is unsure: “Perhaps there is an obstacle that we cannot know of. Haslinger sent by mail for the few copies of the quartet that have appeared in Vienna thus far; there have been many requests for this quartet, and Haslinger did not have any copies left. Then he sent for a significant supplement 2 months ago. However, he did not yet receive anything. So everyone else has to wait for the quartet. Beethoven asks how Holz knows this, and Holz offers to name his source who was there. He assures Beethoven that Haslinger was quite upset about it.

Uncle Ludwig dictates a letter to Schott’s, which Karl writes out under today’s date: “From the postscript of your esteemed letter of the 8th of this month, I understand that you intend to send two copies of the [Ninth] symphony to the King of Prussia. I request this be postponed for the time being, as I intend to send the King a hand-written copy of this work from here by courier, which can also be accomplished in this manner without any risk. I only request that you delay publication until I inform you that the King is in possession of the copy; you understand that with the publication of a work, the value of a copy ceases. For the copies intended for the King, I request that you procure exceptionally fine paper.”

“In my last letter of the 12th of this month, which you will undoubtedly have received, I wrote to you that, due to my failing health, I have to undertake a short journey [presumably Beethoven has decided to go to the baths at Ischl]; I am only awaiting your remittance instructions to Herr Frank [bankers Franck & Co.] here, so that upon receipt of them I may carry out my intention without delay.”

“I therefore request your kind expedited reply. With highest respect, your most devoted Beethoven.”

“Postscript. The now Tobias primus, formerly secundus, complains that many inquiries have been made about the quartet in E-flat, and he already wrote you for a supplemental shipment some two months ago, but despite this, he has not received it — This also applies to the volumes that belong here at the Schwarzspanierhaus, which soon will be published. —”

Brandenburg Letter 2172; Anderson Letter 1492. The reference to “Tobias primus, formerly secundus” is yet another reference to Beethoven’s private joke comparing Sigmund Anton Steiner and Tobias Haslinger to the two Tobiases in the apocryphal book of Tobit; Haslinger recently took over sole operation of the firm upon Steiner’s retirement.

The original of this letter is in Nephew Karl’s hand and is held in the Mainz City Library (Hs III 71, Nr.21) and can be seen here:

https://www.dilibri.de/dilibri_kalliope/content/titleinfo/2115413

Karl mentions that the acting housekeeper, Marie Stiegel, wants to go to the theater today. One of her relatives is in Vienna. The only cooking that needs to be done is making soup for supper, and she can tell the maid what to do for that. Beethoven consents to letting Stiegel go to the theater.

Holz reports that Conrad Graf sends his regards and assures Ludwig that he is working on the Broadwood piano.

Holz writes out his suggested language for the notice: “I hereby request that all my local and foreign correspondents, with whom I have previously maintained written communication through the firm Steiner & Comp., now Tobias Haslinger, henceforth address their matters directly to me. L. Beethoven — Schwarzspanier Haus etc.” [The announcement is apparently never published at all. This proposed announcement is Brandenburg Letter 2171.]

Beethoven wants Haslinger to make various concessions before he can publish the forthcoming works. [March and Chorus op.114, Tremate, empi tremate op.116, and King Stephan Overture, op.117.] Holz says that Beethoven should list them out for Haslinger.

The courier to St. Petersburg, Augustin Lipscher, thinks it would be best to have the Stieglitz bankers act as go-between with Prince Nikolai Galitzin. “They should be able to achieve something more easily than the embassy.”

Nephew Karl cannot stay long. He will not be able to visit his uncle tomorrow since he will not be finished with his work. He has to get up at 5 o’clock as it is. “This week I still have 4 written exams, for which I have to prepare. Anyway, it is almost 5 o’clock now.”

Holz says he has some interesting things he can provide for Karl, though it’s too late for this semester [probably sample commercial transactions from Halle and Jena, which might be instructive for Karl’s studies in business.]

The spraying to keep down dust continues, but the City is not spraying tomorrow. Holz wonders who will do it.

Karl repeats, as if assuring his uncle, that he is working assiduously, “The first [oral] exam is already coming up in a few weeks; therefore it is high time that I use every hour. There is also a lot of homework to be done, so that my time is very limited.” But he will go with Holz to see Haslinger tomorrow about Uncle Ludwig’s demands.

[Karl appears to depart now. His repeated mentions of his upcoming examinations in hindsight is an attempt to make his uncle and Holz believe that he intends to take his exams and pass them, even though he has no intention of doing so. More on this tomorrow.]

Court war agent Ignaz Dembscher and his desire to have the op.130 quartet performed comes up. Does Schuppanzigh play for Dembscher, Beethoven asks. Only if violinist Joseph Mayseder is unable to come. He does not have concerts as often during the summer as he does in winter. Beethoven asks Holz to remind Dembscher that if he wants the quartet, he needs to pay Schuppanzigh 50 florins as penance for not subscribing to the Schuppanzigh Quartet concerts, where he could have heard it. Beethoven writes Dembscher a letter to that effect, and has Holz deliver it.

As they part, Holz assures Beethoven that he will finish the proofreading of the quartet by the day after tomorrow [Friday, July 28.] Then he will go on with the corrections of the dedication copy of the Ninth Symphony, as mentioned in the letter to Schott’s. “There are many errors in it.”

Conversation Book 26r-33r.

Today is the second and final day of the Eighteenth Yorkshire Amateur Musicians Meeting at York. The concert begins at noon again today, opening with Beethoven’s Grand Symphony (Eroica) op.55. The second half of the concert opens with Mozart’s Symphony Nr.40 in G minor, and is followed by an Overture in C by Beethoven [either Consecration of the House, op.124 or the Name Day Overture, op.115, both in the key of C major and both first published within the last year, though the latter is about nine years older in terms of composition even though it was published more recently, in April], the Overture to Der Freischütz, and other works.

“These splendid selections were performed, especially that of the second day, with a degree of spirit and precision which reflected the highest credit on the band, and on its skillful leader Dr. Camidge, who was, as usual, supported by one of the most efficient of the amateurs; and this accuracy of performance is more remarkable, when it is considered that the component parts of the band were not so regularly drilled as if they resided all in one place, and that they had had but one general rehearsal of six hours on the Monday morning….Mozart’s delicious Symphony in G minor [Nr.40] was charmingly executed, as was Beethoven’s new Overture in C. That to Der Freischütz was not better performed at the Festival, and would have been encored but for the lateness of the hour.” The Harmonicon for September 1826 (Nr.XLV) at 185.

The London Symphony Orchestra, conducted by Albert Coates, here performs the Eroica in a recording made about a century later than this concert, in September and October of 1926:

The next meeting of the society is scheduled to take place at Sheffield, unless Hull is admitted to the group in the meantime.

In today’s Wiener Zeitung (Nr.169), at 714, Cappi & Czerny repeats its advertisement for three overtures by Ludwig van Beethoven, arranged for piano four hands by Joseph Czerny, namely the overtures from the ballet Prometheus, the tragedy Egmont, and the tragedy Coriolan. These same overtures are also available for pianoforte solo.

The Intelligenzblatt supplement (Nr.XI) to today’s Leipzig Allgemeine musikalische Zeitung (Nr.30) advertises new compositions offered by Breitkopf & Härtel in Leipzig. At 51, there is reference to their publication of Beethoven’s Terzet, Tremate, empi, tremate, op.116, for soprano, tenor and bass, with accompaniment of full orchestra, or with cembalo accompaniment.