BEETHOVEN 200 YEARS AGO TODAY: Wednesday, June 16, 1824

Prince Nikolai Galitzin today writes in French to Beethoven from St. Petersburg. In the letter, he acknowledges receipt of Beethoven’s correspondence of May 26, which caused him the same inexpressible pleasure that he gets every time he receives Beethoven’s letters. “It is with very real impatience that I await the sending of the quartet that you promise me, and if I had one prayer to make to you it would be to hasten the sending.” Had Beethoven not offered to send them, he would have requested copies of his latest works, such as the Symphony, the Consecration of the House Overture, and the Terzet Tremate, empi, tremate. “These are masterpieces that I long to know and I beg you to have them copied on my behalf quickly.”

Galitzin thanks Beethoven for the laudatory verses sent to him [the 70-stanza poem “A Lodovico van Beethoven” by Calisto Bassi, which was handed out at the second Akademie concert]. He had already read in the newspapers about the fact King Louis XVIII had awarded Beethoven a medal. “May all Sovereigns imitate the King of France by doing justice to your merits.” Unfortunately, the Tsar’s court takes little interest in music, and besides that “the pitiful Rossinian charlatanism” has corrupted everything. Only a few elected officials fuel the sacred fire of beautiful music. If Beethoven wishes to dedicate a work to the Czar, a recent order states that all foreign artists wishing to do so must contact Count Nesselrode, the Minister of Foreign Affairs, for permission.

If Beethoven decides to have the Mass published on subscription, Galitzin offers to distribute as many copies as he can. Of course, a work of this nature cannot be placed so easily as others, due to the need for an orchestra, full chorus, and vocal soloists. There are unfortunately few people who will acquire a score simply to study it. Works like sonatas and quartets are much more easily placed.

Galitzin asks Beethoven to let him know in his next letter what new works he is busy with at the moment, and what is to be expected from his genius.

“I hope next year to go traveling, and I will head to Vienna first because I want to become more intimately acquainted with the one who gave me the most beautiful moments of my life. Prince Radziwill stayed here for a few months, and we only played quartets of your composition, especially the last four or five.” [That would be the three Razoumovsky Quartets, op.59, the “Harp” Quartet, op.74, and the “Quartetto Serioso,” op.95. Galitzin does not, however, make it to Vienna in 1825.]

Galitzin assures Beethoven of his sincere friendship and boundless devotion. In a postscript, Galitzin adds, “If you ever find yourself in trouble about the slightest thing, please contact me quickly. I will be only too happy to be of assistance to you.”

Brandenburg Letter 1845; Albrecht Letter 370. The original in held by the Vienna Beethoven Society. We once more can detect in this letter the influence of Beethoven’s former unpaid assistant, Franz Oliva (currently a professor of German in St. Petersburg). The writing again is perfectly composed to appeal to Beethoven’s good will, especially the reference to “pitiful Rossinian charlatanism,” as well as the gentle reminder that Galitzin is still waiting for the quartets he has commissioned, without putting any serious pressure or making demands on Beethoven.

Today’s Vienna Allgemeine musikalische Zeitung (Nr.44) at 173-174 includes the conclusion to editor Friedrich August Kanne’s epic-length review of Beethoven’s two musical Akademie concerts in May. It is mercifully shorter than the first two, and continues with a wrapup, having already discussed the Ninth Symphony and the “Three Hymns” derived from the Missa Solemnis in depth. Kanne has some thoughts about the arts in society that still ring true today.

Kanne recognizes with pleasure the laudable zeal of those who offered their talents, and that each of them must feel honored to have been used by such a great master in so great an achievement. The excellent Kapellmeister Herr Umlauf, who took over the direction of these great works, with such skill and energy, is at the top in every respect. His artistry is credited with the largely happy success of such a difficult task on both days of the Akademie. Likewise Herr Schuppanzigh is recognized as a master.

But the impossibility of holding as many rehearsals as would be necessary to give such heavy, artistic music a brilliant effect, with precision in all individual parts, and especially observing the forte and piano, has many causes that are difficult to eliminate.

First off, there is no way of guaranteeing the entrepreneur will cover the large, almost incomprehensible costs, unless there were to be a new Baron van Swieten, who recognized Haydn’s genius and stimulated such activity. An enthusiastic patron, or an association of several of them, could create an opportunity, but performing such works in a style worthy of being heard in the great imperial city cannot be placed on the producers of the art alone.

It is very natural that performing musicians, through energy, fire and the necessary artistic skills will make the difference since they have played together. Yet repeating rehearsals makes them neglect the business of giving lessons, etc., which is so necessary for their daily income. So one cannot demand that they withstand the long and tiring rehearsals free of charge. Anyone who has any idea of the expensive preparations, as well as the bold gesture necessary to do this work at his own risk, will understand if a composer is unwilling to do so. Better to have a Croesus for a friend, or perhaps a strange Nero who would like to see thousands of virtuosos all the time.

For an artist like Beethoven, who didn’t want to leave the recognized cradle of the arts, his fatherland Vienna (understanding that through his many years of work within the walls of the city, he made this his second fatherland), even though other countries would have promised the most brilliant fortune, he preferred to create his own brilliant position here, through his ingenious works, in association with great artists of all types, for the last thirty years. Someone so unselfish, who strives only for the heights of art, must find the material aspects, such as the odious business of having a score written out in so many parts, a disturbing task and a disturbing sacrifice.

Any feeling person present in the two days of performance, who saw the sublime master at the side of the conductor Umlauf, saw him reading the score, feeling and anticipating every nuance and emphasis in the music – in general those who love the art of music – who would not have hoped in their hearts that the reward of his efforts, the greatness and value of which, unfortunately, in the life of an artist are determined by inartistic reasons and often endangered by unexpected external impacts, would have delighted the Master and raised him above disturbing circumstances.

Kanne turns to the involvement of the Italian opera singers, Dardanelli, Donzelli and Botticelli. “We honestly admit that we have saved this subject until the end, so to speak, because it is a joy when criticism is allowed to quite freely and openly express its praise.” These famous singers were brought in to take part, apparently due to the risks felt by the entrepreneurs of the theater. “Beethoven therefore assigned them one of his older works, a very beautiful, expressive Trio in Italian.”

“The blindest enthusiast for all that is German and against everything Italian would have shouted his loud bravo and given his most unequivocal applause – so excellent, so artistic, so fiery and tasteful was the performance of this beautifully composed Terzet in every respect.”

“The great tenor voice of Hrn. Donzelli sounded like solid ore in the powerful and beautiful vibrations of the melody, which echoed once again through the vast hall into everyone’s hearts. Sigra. Dardanelli carried her part with the highest taste and the greatest relaxation of the throat. Sign. Botticelli stood firm like a pilaster, and it seemed as if one would be completely carried away by the powerful and exciting world of sweet sounds. The great clarity in the recitative, the correctness and expressive passion that shone in the singing of all three individuals, made this work a highlight. Also Sign. David appeared in an aria that was very familiar both to him and to us, and he demonstrated his skills and artificial chains of trills.”

“The famous Beethoven can therefore consider this day to be one of the most beautiful in his life, because the enthusiasm of the listeners reached the highest conceivable level after every piece of music that came from the Master’s hand. It was a day of celebration for all true friends of music.”

Today’s Wiener Zeitung (Nr.137) includes another advertisement for Diabelli & Co.’s recent publication of Vaterländischer Künstlerverein, the two volumes of variations on Diabelli’s minuet by 51 composers, including Beethoven’s set of 33 variations, op.120.

Regular entries will continue tomorrow with Conversation Book 72.