Write to me forthwith. Perhaps the old goose may go to Vienna the day after to-morrow. Farewell! Attend to my advice.

Your attached

FATHER,

Who cordially embraces you.

You may possibly go to D—— with this Herr Thal; do not, however, show too much anxiety about the money.

[Footnote 1: The nephew had now resolved on a commercial career, and on this account entered the Polytechnic Institution.]

437.

TO HIS NEPHEW.

MY DEAR SON,—

So let it be! Bring G——'s letter with you, for I have scarcely read it myself. My Signor Fratello came the day before yesterday with his brother-in-law [see No. 435]—what a contemptible fellow! The old witch, who went almost crazy again yesterday, will bring you the answer about the book from his brother-in-law. If it does not convey a positive certainty on the subject, send this letter at once to the base creature! When Cato exclaimed, with regard to Caesar, "This man and myself!" what can be done in such a case? I don't send the letter, for it will be time enough a couple of days hence. It is too late to-day. I impress my love, as with a seal, on your affectionate attachment to me. If you are likely to miss your work by coming here, then stay where you are.

As ever, your loving and anxious

FATHER.

Three times over: ___ : Come soon! :

438.

TO THE COPYIST.[1]

Read violino 2do—the passage in the first Allegretto in the 1st violin—thus:—

[Music: Treble clef, sixteenth notes.] &c.

So write it in this way; in the first Allegretto, mark the signs of expression in all the four parts:

[Music: Treble and Bass clefs.]

The notes are all right; so do not misunderstand me.

Now, my good friend, as to your mode of writing—obbligatissimo; but the signs [Music: piano crescendo decrescendo] &c., are shamefully neglected, and often, very often, in the wrong place, which is no doubt owing to haste. For Heaven's sake impress on Kempel [a copyist] to copy everything just as it stands; look carefully over my present corrections, and you will find all that you have to say to him. When [Music: staccato mark] is put over a note, [Music: staccatissimo mark] is not to take its place, and vice versa. It is not the same thing to write [Music: three staccatissimo quarter notes] and [Music: three staccato quarter notes]. The [Music: crescendo] are often purposely placed after the notes. For instance:—[Music: three notes, decrescendo on second note]. The ties to be just as they are now placed. It is not synonymous to write [Music: three notes, slurred] or thus [Music: three notes, slur over first two notes]. Such is our will and pleasure! I have passed no less than the whole forenoon to-day, and yesterday afternoon, in correcting these two pieces, and I am actually quite hoarse from stamping and swearing.

In haste, yours,

BEETHOVEN.

Pray excuse me for to-day, as it is just four o'clock. [The close of this letter has not been deciphered by its possessor, who has traced over the hieroglyphics with a pencil; it reads somewhat to this effect, "to go to Carl at four o'clock. We were much amused," &c.]

[Footnote 1: This letter is evidently written about the same time that the copying of the A minor Quartet (Op. 132) took place, of which the letter treats, and is probably "the enclosure" named in the following note. The corrections, or we ought rather to say revisions, of Beethoven, are all fully and accurately reproduced, at all events in Breitkopf & Haertel's edition.]

439.

TO HIS NEPHEW.

Tuesday, August 2.

MY DEAR SON,—

Send the enclosed to-morrow morning (Wednesday) to the post; as it refers to corrections, haste is absolutely necessary. We must have done with this evil old creature! I have scarcely enough to eat, and am forced also to endure the sauciness and insolence of this most malicious old witch—and with such wages too! I think I must ask my pseudo-brother to come, and would be glad to engage again the woman from Winter's, in the Kothgasse, who at least knew how to cook.

Write me a few lines to-morrow, and direct here. I send you another florin. Do not neglect your bathing; continue well, and guard against illness. Spend your money on good objects alone. Be my dear son! What a frightful discord would it be, were you to prove false to me, as many persons maintain that you already are! May God bless you! Your attached

FATHER.

N.B. Send off the letter to-morrow (Wednesday). I have heard nothing as yet of the knives, and my made pens also begin to fail.

440.

TO HIS NEPHEW.

Baden, August

MY DEAR SON,—

I am in mortal anxiety about the Quartet—namely, the third, fourth, fifth, and sixth parts, that Holz took away, while the first bars of the third movement have been left here; the number of these sheets is 13. I hear nothing of Holz. I wrote to him yesterday, and he is not usually remiss in writing. What a sad business it will be if he has lost it! He drinks hard, entre nous. Tranquillize me on this point as quickly as possible. You can find out Linke's lodgings from Haslinger; he was here to-day and very friendly, and brought some of the sheets and other things, and begged hard for the new quartets. Never interfere in this kind of business; it can only lead to what is unpleasant. For Heaven's sake pacify me about the Quartet—a serious loss. The sketch is only written on small fragments of paper, and I could not manage to write out the whole exactly from these.

Your attached

FATHER.

I must remind you that next Sunday and Monday are holidays, so that you may arrange accordingly. On this occasion you could perhaps, when I come in, return with me here on Saturday evening, which would give you the whole of Sunday morning to yourself.

441.

TO ZMESKALL.

1825.

MY GOOD FRIEND,—

I had scarcely got home when I bethought me of the stuff I may have written yesterday. Give the enclosed to Kuhlau; you know all the rest. Write to me as soon as possible, or come here, next Thursday being a holiday, but write beforehand. Ask if the cook understands anything about game, that she may take the command of my game preserves for me. As to Carl, it would be better for him to tell me about it at the Atrapper at Rosen. All this prestissimo! As for my friendship, think of me always as Cantum firmum. Farewell!

Ever your friend,

BEETHOVEN.

442.

TO HERR FRIEDRICH KUHLAU.

Baden, September 3, 1825.

[Music: Alto clef, B-flat major, 4/4 time. Kuhl nicht lau, nicht lau, Kuhl nicht lau, Kuh-lau nicht lau. Kuhl nicht lau, Kuhl nicht lau, nicht lau. Kuhl nicht lau, Kuhl nicht lau, Kuhl nicht lau.]

I must admit that the champagne went a little to my head yesterday, and I learned once more from experience, that such things rather prostrate than promote my energies; for, though able to respond fluently at the moment, still I can no longer recall what I wrote yesterday.

Sometimes bear in mind your attached

BEETHOVEN.

443.

TO HIS NEPHEW.

September 6, 1825.

MY DEAR SON,—

I see perfectly well how troublesome it would be for you all to come here; we must therefore make an appointment to meet every Friday at Schlesinger's, when I will come to town; for, in case any thing goes amiss, I must be present. This is the best plan, and settles the affair. He was here yesterday, and said that he would pay for the Quintet as soon as you sent it to him.

It will be enough if they play the new one only, but you can judge what is best. If they prefer Thursday, I can be present then. Only see that they come to an arrangement as quickly as possible, so that the money may be transmitted to Peters in Leipzig, to whom, however, you must on no account allude. Schlesinger scarcely expects to be still in Vienna on Sunday; haste is therefore necessary. The ducats must be in gold; mention, as a precedent, that others do this.

Be sure to write to me by the old woman to-day. All I want is a rehearsal, to see whether corrections are required. Make no delays, and take care that the old woman sets off in good time. The best plan would be to fix where I am to come to in town every Friday for rehearsals. If Schlesinger has brought you the Quartet (the first), pray stand on no ceremony, for it is clear he means to pay.

Your letter has this moment come. So Holz is not to be here till Thursday, and who can tell whether even this is certain? Your letter changes everything, as Friday is now decided on. Holz can inform me whether we meet here or in Vienna. Our main point now is with Schlesinger, for we must delay no longer. If he is only waiting for the rehearsal, he certainly shall not have it. He said yesterday that he would not publish the quartets here; I told him it was a matter of entire indifference to me. May God bless you and keep you!

Your attached

FATHER.

444.

TO HIS NEPHEW.

September.

MY DEAR SON,—

Do not forget to give Tobias [Haslinger] the receipt together with the money. The gentleman ought to have come a little sooner; but as the affair stands, you must do as he advises. I do not wish now that you should come to me on the 19th of September. It is better to finish your studies. God has never yet forsaken me, and no doubt some one will be found to close my eyes. The whole thing seems to me to have been some artful collusion, in which my brother (pseudo) has played a part. I also know that you have no pleasure now in coming to me—which is only natural, for my atmosphere is too pure for you. Last Sunday you again borrowed 1 florin 15 kreutzers from the housekeeper, from a mean old kitchen wench,—this was already forbidden,—and it is the same in all things. I could have gone on wearing the out-of-doors coat for two years—to be sure I have the shabby custom of putting on an old coat at home—but Herr Carl! What a disgrace it would be! and why should he do so? Herr Ludwig van Beethoven's money-bags are expressly for this purpose.

You had better not come next Sunday, for true harmony and concord can never exist with conduct such as yours. Why such hypocrisy? Avoid it, and you will then become a better man, and not require to be deceitful nor untruthful, which will eventually benefit your moral character. Such is the impression you have made on my mind—for what avail even the most gentle reproofs? They merely serve to embitter you. But do not be uneasy; I shall continue to care for you as much as ever. What feelings were aroused in me when I again found a florin and 15 kreutzers charged in the bill!

Do not send any more such flimsy notes, for the housekeeper can see through them in the light. I have just received this letter from Leipzig, but I don't mean to send the Quartet yet; we can talk of this on Sunday. Three years ago I only asked 40 ducats for a quartet; we must therefore refer to the exact words you have written.

Farewell! He who, though he did not give you life, has certainly provided for it, and above all striven to perfect your mental culture, and been more than a father to you, earnestly implores you to pursue steadily the only true path to all that is good and right. Farewell!

Bring back the letter with you on Sunday.

Your attached and kind

FATHER.

445.

TO HERR VON SCHLESINGER.

Vienna, September 26, 1825.

[Music: Tenor clef, F major, 4/4 time. Si non per Por-tus, per mu-ros, per mu-ros, per mu-ros.]

My worthy friend, I wish you the loveliest bride! And I take this opportunity of asking you to present my compliments to Herr Marx, in Berlin, and beg him not to be too hard on me, and sometimes to allow me to slip out at the backdoor.

Yours,

BEETHOVEN.

446.

TO HIS NEPHEW.

Baden, October 4.

MY DEAR SON,—

Like the sage Odysseus, I know the best course to take; if you come on Saturday, you need not fear the cold, for a portion of the old window-shutters is still here, with which we can protect ourselves. I hope also to get rid of my cold and catarrh here; at the same time this place is a great risk in my rheumatic condition, for wind, or rather hurricanes, still prevail here. As to Biedermann, you must inquire whether Schlesinger gave him a commission; for if this be not the case, we ought to write at once to Peters. You could scarcely write to me to-day, but I hope to hear from you to-morrow, and to see you positively on Saturday. I wish you never may have cause to feel ashamed of your want of love for me; if I alone suffer, what matters it? I wish and hope that all the pretexts you made here to go into Vienna may prove true.

Rest assured that you may at all times expect every possible kindness from me, but can I hope for the same from you? When you see me irritable, ascribe it solely to my great anxiety on your account, for you are exposed to many dangers. I hope at all events to get a letter from you to-morrow; do not cause me uneasiness, but think of my sufferings. I ought not, properly, to have any such apprehensions, but what sorrow have I not already experienced?!

As ever, your attached

FATHER.

Remember that I am all alone here, and subject to sudden illness. [On the outside:] N'oubliez pas de demander des quittances, et donnez-moi aussi vite que possible des nouvelles.

447.

TO HIS NEPHEW.

MY DEAR SON,—

Say no more! only come to my arms; not one harsh word shall you hear! For God's sake do not bring misery on your own head. You shall be received as lovingly as ever. We can discuss in a friendly manner what is to be done and settled as to the future. I pledge my word of honor you shall meet with no reproaches from me, which, indeed, could no longer avail. You need expect only the most affectionate care and assistance from me. Only come! Come to the faithful heart of—

Your father,

BEETHOVEN.

Volti sub.

Set off the moment you receive this letter. Si vous ne viendrez pas, vous me tuerez surement. Lisez la lettre et restez a la maison chez vous. Venez embrasser votre pere, vous vraiment adonne. Soyez assure que tout cela restera entre nous. For God's sake come home to-day, for we cannot tell what risks you run,—hasten,—hasten to me!

448.

TO HIS NEPHEW.

October 5.

DEAR AND MUCH-BELOVED SON,—

I have just received your letter. I was a prey to anguish, and resolved to hurry into Vienna myself this very day. God be praised! this is not necessary; follow my advice, and love and peace of mind, as well as worldly happiness, will attend us, and you can then combine an inward and spiritual existence with your outer life. But it is well that the former should be esteemed superior to the latter. Il fait trop froid. So I am to see you on Saturday? Write to say whether you come early or in the evening, that I may hasten to meet you. I embrace and kiss you a thousand times over, not my lost, but my new-born son.

I wrote to Schlemmer; do not take it amiss, but my heart is still too full [a piece is here torn away]. Live! and my care of the son I have found again will show only love on the part of your father. [On the cover:] Ayez la bonte de m'envoyer a lucifer-match bottle and matches from Rospini, ou en portez avec vous, puisque de celle de Kaernthnerthor on ne veut pas faire usage.

449.

TO HIS NEPHEW.

Immediate. Baden, October 14.

I write in the greatest haste to say, that even if it rains, I shall certainly come in to-morrow forenoon; be sure, therefore, that I find you at home.

I rejoice at the thoughts of seeing you again, and if you detect any heavy clouds lowering, do not attribute them to deliberate anger, for they will be wholly chased away by your promise to strive more earnestly after the true and pure happiness, based on active exertion. Something hovered before me in my last letter, which though perhaps not quite justly yet called forth a dark mood; this, after all that has passed, was indeed very possible; still who would not rejoice when the transgressor returns to the right path?—and this I hope I shall live to see. I was especially pained by your coming so late on Sunday, and hurrying away again so early. I mean to come in to-morrow with the joiner and to send off these old hags; they are too bad for anything. Until the other housekeeper arrives, I can make use of the joiner. More of this when we meet, and I know you will think I am right. Expect me then to-morrow without fail, whether it rains or not.

Your loving

FATHER,

Who fondly embraces you.

450.

TO THE ABBE MAXIMILIAN STADLER.

February 6, 1826.

REVEREND AND HONORED SIR,—

You have really done well in rendering justice to the manes of Mozart by your inimitable pamphlet, which so searchingly enters into the matter [the Requiem], and you have earned the gratitude of the lay and the profane, as well as of all who are musical, or have any pretensions to be so. To bring a thing of this kind forward as H.W.[1] has done, a man must either be a great personage, or a nonentity. Be it remembered also that it is said this same person has written a book on composition, and yet has ascribed to Mozart such passages as the following:—

[Music: Bass clef]

and has added such things as,—

[Music: Treble clef, B-flat major. A-gnus de-i pec-ca-ta mun-di.]

[Music: Treble clef, B-flat major. Qui tol-lis pec-ca-ta, qui tol-lis pec-ca-ta,]

as samples of his own composition! H.W.'s astonishing knowledge of harmony and melody recall the old composers of the Empire,—Sterkel, [illegible,] Kalkbrenner (the father), Andre, &c.

Requiescant in pace! I especially thank you, my dear friend, for the pleasure you have conferred on me by your pamphlet. I have always accounted myself one of Mozart's greatest admirers, and shall continue to be so to my last breath. I beg, venerable sir, for your blessing, and I am, with sincere esteem and veneration, yours,

BEETHOVEN.

[Footnote 1: Gottfried Weber, the well-known theorist, who was one of those engaged in the dispute as to the genuineness of Mozart's Requiem.]

451.

TO GOTTFRIED WEBER.

April 3, 1826.

Holz tells me that it is your intention to publish a larger size of the engraving representing Handel's monument, in St. Peter's Church in London. This affords me extreme pleasure, independent of the fact that I was the person who suggested this. Accept my thanks beforehand.

I am your obedient

BEETHOVEN.

452.

TO HERR PROBST, MUSIC PUBLISHER,—LEIPZIG.

Vienna, June 3, 1826.

SIR,—

I always consider myself in some degree bound to make you the offer of my compositions when it is possible to do so. I am at this moment more at liberty than usual. I was obliged to give my minor works to those who took the greater ones also, as without the former they refused to accept the latter. So far as I remember, however, you wished to have nothing to do with the greater works. In this view, I offer you an entirely new Quartet for two violins, viola and violoncello; you must not, however, be surprised at my demanding the sum of 80 gold ducats for it. I assure you, upon my honor, that the same sum has been remitted to me for several quartets. I must request you, in any event, to write to me on this point as soon as possible. Should you accept my offer, I beg you will send the money to some bank here, where I can receive it on delivery of the work. If the reverse be the case, I shall equally expect an immediate reply, as other publishers have already made me offers. I have also the following trifles ready, with which I can supply you. A Serenade-congratulatory-Minuet, and an Entr'acte, both for a full orchestra,—the two for 20 gold ducats. In the hope of a speedy answer,

I am, sir, your obedient

BEETHOVEN.

453.

TO STEPHAN V. BREUNING.[1]

MY DEAR AND MUCH-LOVED STEPHAN,—

May our temporary estrangement be forever effaced by the portrait I now send. I know that I have rent your heart. The emotion which you cannot fail now to see in mine has sufficiently punished me for it. There was no malice towards you in my heart, for then I should be no longer worthy of your friendship. It was passion both on your part and on mine; but mistrust was rife within me, for people had come between us, unworthy both of you and of me.

My portrait[2] was long ago intended for you; you knew that it was destined for some one—and to whom could I give it with such warmth of heart as to you, my faithful, good, and noble Stephan?

Forgive me for having grieved you; but I did not myself suffer less when I no longer saw you near me. I then first keenly felt how dear you were, and ever will be to my heart. Surely you will once more fly to my arms as you formerly did.

[Footnote 1: Schindler places this letter in the summer of 1826, when his nephew attempted self-destruction in Baden, which reduced Beethoven to the most miserable state of mind, and brought afresh to his recollection those dear friends of his youth, whom he seemed almost to have forgotten in the society of Holz and his colleagues. Schindler states that the more immediate cause of this estrangement was Breuning having tried to dissuade him from adopting his nephew. Dr. v. Breuning in Vienna is of opinion that the reunion of the two old friends had already occurred in 1825, or even perhaps at an earlier period. I am not at present capable of finally deciding on this discrepancy, but I believe the latter assertion to be correct.]

[Footnote 2: Schindler says, "It was Stieler's lithograph, which the maestro had previously sent to Dr. Wegeler." See No. 459.]

454.

TO STEPHAN VON BREUNING.

MY BELOVED FRIEND,—

You are harassed by work, and so am I—besides, I am still far from well. I would have invited you to dinner ere this, but I have been obliged to entertain people whose most highly prized author is the cook, and not finding his interesting productions at home, they hunt after them in the kitchens and cellars of others [Holz for instance]. Such society would not be very eligible for you, but all this will soon be altered. In the mean time do not buy Czerny's "School for the Pianoforte;"[1] for in a day or two I expect to get some information about another. Along with the "Journal des Modes" that I promised to your wife, I also send something for your children. I can always regularly transmit you the journal—you have only to express your wish on any point, for me to comply with it at once.

I am, with love and esteem, your friend,

BEETHOVEN.

I hope we shall soon meet.

[Footnote 1: Czerny, The Vienna Pianoforte Teacher; or, theoretical and practical mode of learning how to play the piano skilfully and beautifully in a short time by a new and easy method. Vienna: Haslinger. See No. 455.]

455.

TO STEPHAN V. BREUNING

MY DEAR GOOD FRIEND,—

I can at length realize my boast, and send you Clement's long-promised "Pianoforte School" for Gerhard [Breuning's eldest son]. If he makes the use of it that I advise, the results cannot fail to be good. I shall see you very shortly now, and cordially embrace you. Your

BEETHOVEN.

456.[1]

TESTIMONIAL FOR C. HOLZ.

Vienna, August 30, 1826.

I am happy to give my friend Carl Holz the testimonial he wishes, namely, that I consider him well fitted to write my Biography hereafter, if indeed I may presume to think that this will be desired. I place the most implicit confidence in his faithfully transmitting to posterity what I have imparted to him for this purpose.

LUDWIG VAN BEETHOVEN.

[Footnote 1: Carl Holz ceded his rights to Dr. Gassner, who however died in 1851 without having completed any biography of Beethoven. In the maestro's bequest, which Gassner's widow was so kind as to show me, there was nothing new (at least to me) except two letters included in this collection and a couple of anecdotes. Schindler also states that Beethoven subsequently repented of the authority he had given Holz and declared he did so too hastily.]

457.

TO CARL HOLZ.

Both the gentlemen were here, but they have been admonished on every side to observe the most strict secrecy with regard to the Order. Haslinger declares that in this respect you are a son of the deceased Papageno. Prenez garde!

I told Carl to-day it was definitively settled that he could not quit the hospital except with you or me. I dine at home to-morrow, so I shall be very glad if you can come. As you have no official work to-morrow you might arrive later, but it is very necessary that you should come. Portez-vous bien, Monsieur terrible amoureux.[1]

Your indeclinable friend,

BEETHOVEN.

[Footnote 1: This letter contains all kinds of dashes and flourishes, which prove that the maestro was in his happiest mood when he wrote it. His nephew was at that time in the hospital, probably owing to his attempt at suicide.]

458.

TO THE KING OF PRUSSIA.

YOUR MAJESTY,—

One of the greatest pieces of good fortune of my life is your Majesty having graciously permitted me respectfully to dedicate my present work [the 9th Symphony] to you.

Your Majesty is not only the father of your subjects, but also a patron of art and science; and how much more precious is your gracious permission to me, from being myself so fortunate as to be numbered among your subjects, being a citizen of Bonn.

I beg your Majesty will vouchsafe to accept this work as a slender token of the profound admiration with which I regard your virtues.

I am, your Majesty's obedient humble servant,

LUDWIG VAN BEETHOVEN.

459.

TO WEGELER.

Vienna, October 7, 1826.

MY OLD AND BELOVED FRIEND,—

I really cannot express the pleasure your letter and that of your Lorchen caused me. An answer speedy as an arrow's flight ought indeed to have responded, but I am always rather indolent about writing, because I think that the better class of men know me sufficiently without this. I often compose the answer in my head, but when I wish to write it down I generally throw aside the pen, from not being able to write as I feel. I recall all the kindness you have ever shown me; for example, your causing my room to be whitewashed, which was an agreeable surprise to me. It was just the same with all the Breuning family. Our separation was in the usual course of things; each striving to pursue and to attain his object; while at the same time the everlasting and immutable principles of good still held us closely united. I cannot unfortunately write so much to you to-day as I could wish, being confined to bed,[1] so I limit my reply to some points in your letter.

You write that in some book I am declared to be the natural son of the late King of Prussia; this was mentioned to me long ago, but I have made it a rule never either to write anything about myself, or to answer anything written by others about me. I therefore gladly devolve on you the duty of making known to the world the respectability of my parents, and especially that of my mother.

You write to me about your son. There is no possible doubt that when he comes here he will find a friend and a father in me, and whenever it may be in my power to serve or to assist him, I will gladly do so.

I still have the silhouette of your Lorchen, by which you will see how dear to me to this hour are all those who were kind and loving to me in the days of my youth. As to my diploma, I may briefly state that I am an Honorary Member of the Royal Academy of Science in Sweden [see No. 338] and in Amsterdam, and that I have been presented with the Honorary Citizenship of Vienna. A Dr. Spiecker lately took with him to Berlin my last Grand Symphony with Choruses; it is dedicated to the King, and I wrote the dedication with my own hand. I had previously applied at the Embassy for permission to dedicate the work to the King, which has now been accorded.[2] By desire of Dr. Spiecker I gave him the manuscript I had myself corrected, and with my own amendments, to present to the King, as it is to be deposited in the Royal Library. I received a hint at the time about the second class of the Order of the Red Eagle; I do not know what the result may be, for I have never sought such distinctions, though in these days for many reasons they would not be unwelcome to me. Besides, my maxim has always been,—Nulla dies sine linea; and if I allow my Muse to slumber, it is only that she may awake with fresh vigor. I hope yet to usher some great works into the world, and then to close my earthly career like an old child somewhere among good people.[3] You will soon receive some music through the Brothers Schott, in Mayence. The portrait which I now send you is indeed an artistic masterpiece, but not the last that has been taken of me. I must tell you further, what I know you will rejoice to hear, with regard to marks of distinction. The late King of France sent me a medal with the inscription, Donne par le Roi a M. Beethoven, accompanied by a very polite letter from le premier gentilhomme du Roi, le Duc de Chatres.

My beloved friend, excuse my writing more to-day, for the remembrance of the past has deeply affected me, and not without many tears have I written this letter. The oftener you write the more pleasure will you confer on me. There can be no question on either side as to our friendship, so farewell. I beg you will embrace your dear children and your Lorchen in my name, and think of me when you do so. May God be with you all.

As ever, your attached friend, with sincere esteem,

BEETHOVEN.

[Footnote 1: On which account this letter is dictated, and only signed by Beethoven, who was at that time at his brother's house in the country—Gneixendorf, near Krems, on the Danube.]

[Footnote 2: In consequence of his application to the King of Prussia to subscribe to his Mass, of which he had sent the MS., Beethoven received the following intimation:—

To the Composer Ludwig van Beethoven.

Berlin, Nov. 25, 1826.

"It gave me great pleasure to receive your new work, knowing the acknowledged value of your compositions. I thank you for having sent it to me, and present you with a ring of brilliants, as a token of my sincere appreciation.

"FRIEDRICH WILHELM."

Schindler adds that the stones in the ring were false, and casts a suspicion of fraud on the Chancery Director of that day, W——.]

[Footnote 3: It was during those weeks that he wrote the second Finale to the B. flat major Quartet, Op. 130, little anticipating that this was to be his "Swan song."]

460.

TO TOBIAS HASLINGER.[1]

[Music: Bass clef. C major. Bester—]

No time is left to-day for further words and vocalization. I beg you will at once deliver the enclosed letter. Pray forgive my causing you this trouble; but, as you are the owner of an artistic post-office, it is scarcely possible not to take advantage of this.

You will perceive that I am now at Gneixendorf. The name sounds like the breaking of an axletree. The air is healthy. The memento mori must be applied to all else. Most marvellous and best of all Tobiases, we salute you in the name of the arts and poets!

I remain yours,

BEETHOVEN.

[Footnote 1: The music alone and the words "I remain" at the close, are in Beethoven's writing. The rest is probably written by his nephew, with whom he had been obliged to take refuge in the house of his odious brother near Krems, because the police had intimated to the young delinquent that he must leave Vienna. See No. 435 on the subject of Beethoven's repugnance to live in his brother's family circle, whose ignoble wife treated the gray-haired and suffering maestro as badly as possible.]

461.

TO TOBIAS HASLINGER.

GNEIXENDORF, October 13, 1826.

BEST OF ALL TOBIASES,—

[Here follow eight bars of music.]

We are writing to you from the castle of our Signor Fratello. I must again intrude on you by the polite request to post the two enclosed letters without delay.

I will repay you for the time I kept the "School for the Pianoforte" and all the other expenses as soon as I return to Vienna. I am staying here longer, owing to the weather being so fine, and also not having gone to the country at all during the summer. A quartet[1] for Schlesinger is already finished; only I don't know which is the safest way to send it to you, that you may give it to Tendler and Manstein and receive the money in return. Schlesinger will probably not make the remittance in gold, but if you can contrive that I should get it, you would very much oblige me, as all my publishers pay me in gold. Besides, my worthy Tobiasserl, we stand in need of money, and it is by no means the same thing whether we have money or not. If you get a sight of Holz make sure of him, and nail him at once. The passion of love has so violently assailed him that he has almost taken fire, and some one jestingly wrote that Holz was a son of the deceased Papageno.

Most astounding, most admirable, and most unique of all Tobiases, farewell! If not inconvenient, pray write me a few lines here. Is Dr. Spiecker still in Vienna? I am, with highest consideration and fidelity,

Yours,

BEETHOVEN.

[Footnote 1: Probably the one in F, Op. 135.]

462.

TO CARL HOLZ.

Dec. 1826.

YOUR OFFICIAL MAJESTY,—

I wrote to you on my arrival here a few days ago, but the letter was mislaid; I then became so unwell that I thought it best to stay in bed. I shall therefore be very glad if you will pay me a visit. You will find it less inconvenient, because every one has left Doebling to go to town. I only add, in conclusion,[1]

[Music: Bass clef, C major, 3/4 time. Wir ir-ren al-le Samt, Nur je-der ir-ret an-derst.]

As ever, your friend,

BEETHOVEN.

[Footnote 1: Here Beethoven's own writing begins. The slight indisposition that he mentions, in the course of a few days became a serious illness, the result of which was dropsy, and from this the maestro was doomed never to recover. Indeed from that time he never again left his bed.]

463.

TO DR. BACH.[1]

Vienna, Wednesday, Jan. 3, 1827.

MY RESPECTED FRIEND,—

I hereby declare, at my decease, my beloved nephew, Carl van Beethoven, sole heir of all my property, and of seven bank shares in particular, as well as any ready money I may be possessed of. If the law prescribes any modifications in this matter, pray endeavor to regulate these as much as possible to his advantage.

I appoint you his curator, and beg that, together with Hofrath Breuning, his guardian, you will supply the place of a father to him.

God bless you! A thousand thanks for all the love and friendship you have shown towards me.

LUDWIG VAN BEETHOVEN.

[Footnote 1: The signature alone is in Beethoven's writing.]

464.

TO WEGELER.

Vienna, February 17, 1827.

MY OLD AND WORTHY FRIEND,—

I received your second letter safely through Breuning. I am still too feeble to answer it, but you may be assured that its contents were most welcome and agreeable to me.[1] My convalescence, if indeed I may call it such, makes very slow progress, and there is reason to suspect that a fourth operation will be necessary, although the medical men have not as yet decided on this. I arm myself with patience, and reflect that all evil leads to some good. I am quite surprised to find from your last letter that you had not received mine. From this one you will see that I wrote to you on the 10th of December last. It is the same with the portrait, as you will perceive from the date, when you get it. "Frau Steffen spake the word:" Michael Steffen insisted on sending them by some private hand; so they have been lying here until this very day, and really it was a hard matter to get them back even now. You will receive the portrait by the post, through the Messrs. Schott, who have also sent you the music.

How much is there that I would fain say to you to-day; but I am too weak,[2] so I can only embrace you and your Lorchen in spirit. With true friendship and attachment to you and yours,

Your old and faithful friend,

BEETHOVEN.

[Footnote 1: Wegeler had reminded him of Blumenauer, who, after being operated on for dropsy, lived for many years in perfect health. He at the same time suggested to him the plan of going with him in the ensuing summer to one of the Bohemian baths, proposing to travel by a circuitous route to the Upper Rhine, and from thence to Coblenz.]

[Footnote 2: Beethoven's last letter to Wegeler. The signature alone is his.]

465.

TO SIR GEORGE SMART,—LONDON.

Feb. 22, 1827.

I remember that some years ago the Philharmonic Society proposed to give a concert for my benefit. This prompts me to request you, dear sir, to say to the Philharmonic Society that if they be now disposed to renew their offer it would be most welcome to me. Unhappily, since the beginning of December I have been confined to bed by dropsy,—a most wearing malady, the result of which cannot yet be ascertained. As you are already well aware, I live entirely by the produce of my brains, and for a long time to come all idea of writing is out of the question. My salary is in itself so small, that I can scarcely contrive to defray my half-year's rent out of it. I therefore entreat you kindly to use all your influence for the furtherance of this project,—your generous sentiments towards me convincing me that you will not be offended by my application. I intend also to write to Herr Moscheles on this subject, being persuaded that he will gladly unite with you in promoting my object. I am so weak that I can no longer write, so I only dictate this. I hope, dear sir, that you will soon cheer me by an answer, to say whether I may look forward to the fulfilment of my request.

In the mean time, pray receive the assurance of the high esteem with which I always remain, &c., &c.

466.

TO HERR MOSCHELES.

Vienna, Feb. 22, 1827.

DEAR MOSCHELES,—

I feel sure that you will not take amiss my troubling you as well as Sir G. Smart (to whom I enclose a letter) with a request. The matter is briefly this. Some years since, the London Philharmonic Society made me the handsome offer to give a concert in my behalf. At that time I was not, God be praised! so situated as to render it necessary for me to take advantage of this generous proposal. Things are, however, very different with me now, as for fully three months past I have been entirely prostrated by that tedious malady, dropsy. Schindler encloses a letter with further details. You have long known my circumstances, and are aware how, and by what, I live: a length of time must elapse before I can attempt to write again, so that, unhappily, I might be reduced to actual want. You have not only an extensive acquaintance in London, but also the greatest influence with the Philharmonic; may I beg you, therefore, to exercise it, so far as you can, in prevailing on the Society to resume their former intention, and to carry it soon into effect.

The letter I enclose to Sir Smart is to the same effect, as well as one I already sent to Herr Stumpff.[1] I beg you will yourself give the enclosed letter to Sir Smart, and unite with him and all my friends in London in furthering my object. Your sincere friend,

BEETHOVEN.

[Footnote 1: Stumpff, a Thuringian maker of harps, came to Vienna in 1824, recommended to our maestro by Andreas Streicher in a letter of Sept. 24, in these words:—"The bearer of this is Herr Stumpff, an excellent German, who has lived for thirty-four years in London. The sole reason of his going to Baden is to see you, my revered Beethoven, the man of whom Germany is so proud. Pray receive him in a kind and friendly manner, as beseems the saint to whose shrine the pious pilgrim has made so long a journey." In 1826 he presented Beethoven with the English edition of Handel's works in 40 folio volumes, which the maestro constantly studied during his last illness. Gerhard v. Breuning, when a youth of fourteen, either held up the separate volumes for him, or propped them against the wall.]

467.

TO SCHINDLER.

The end of February, 1827.

When we meet we can discuss the mischance that has befallen you. I can send you some person without the smallest inconvenience. Do accept my offer; it is, at least, something. Have you had no letters from Moscheles or Cramer? There will be a fresh occasion for writing on Wednesday, and once more urging my project. If you are still indisposed at that time, one of my people can take the letter, and get a receipt from the post-office.

Vale et fave. I need not assure you of my sympathy with your misfortune. Pray allow me to supply board for you in the mean time. I offer this from my heart. May Heaven preserve you! Your sincere friend,

BEETHOVEN.

468.

TO BARON VON PASQUALATI.[1]

March 6, 1827.

MY MUCH-ESTEEMED OLD FRIEND,—

My warmest thanks for the kind present you have sent me for the benefit of my health; as soon as I have found what wine is most suitable for me I will let you know, but not abuse your kindness. I like the compote much, and shall again apply to you for some. Even this costs me an effort. Sapienti pauca.

Your grateful friend,

BEETHOVEN.

[Footnote 1: Traced in feeble and trembling characters. Some other hand has written on it, "March 6, 1827."]

469.

TO BARON VON PASQUALATI.

MY ESTEEMED FRIEND,—

I beg you will send me some more of the cherry compote, but without lemons, and quite simple. I should also like a light pudding, almost liquid, my worthy cook not being very experienced in invalid diet. I am allowed to drink champagne, and I wish you would send me for to-day a champagne glass with it. Now, as to wine, Malfatti wished me to drink moselle, but declared that no genuine moselle could be got here; so he gave me several bottles of Krumbholzkirchner,[1] deeming this best for my health, as no really good moselle is to be had. Pray forgive my troubling you, and ascribe it chiefly to my helpless condition.

I am, with much esteem, your friend,

BEETHOVEN.

[Footnote 1: Gumpoldskirchner—a celebrated and generous Austrian wine.]

470.

TO SIR GEORGE SMART,—LONDON.

March 6, 1827.

DEAR SIR,—

I make no doubt that you have already received through Herr Moscheles my letter of February 22, but as I found your address by chance among my papers, I do not hesitate to write direct to yourself, to urge my request once more on you in the strongest terms.

I do not, alas! even up to the present hour, see any prospect of the termination of my terrible malady; on the contrary, my sufferings, and consequently my cares, have only increased. I underwent a fourth operation on the 27th of February, and possibly fate may compel me to submit to this a fifth time, and perhaps oftener. If this goes on, my illness will certainly continue one half the summer, and in that case, what is to become of me? How am I to subsist until I can succeed in arousing my decayed powers, and once more earn my living by my pen? But I do not wish to plague you by fresh complaints; so I only refer you to my letter of the 22d February, and entreat you to use all your influence with the Philharmonic Society to carry now into execution their former proposal of a concert for my benefit.

471.

TO BARON VON PASQUALATI.

MY WORTHY FRIEND,—

I am still confined to my room; be so good, therefore, as to tell me, or rather, I should say, write to me, the name of the person who values this house, and where he is to be found. If you have any Muterhall [?] medicine I beg you will think of your poor Austrian musician and citizen of the guild.

BEETHOVEN.

472.[1]

TO BARON VON PASQUALATI.

March 14, 1827.

MY ESTEEMED FRIEND,—

Many thanks for the dish you sent me yesterday, which will suffice for to-day also. I am allowed to have game; and the doctor said that fieldfares were very wholesome for me. I only tell you this for information, as I do not want them to-day. Forgive this stupid note, but I am exhausted from a sleepless night. I embrace you, and am, with much esteem, your attached friend.

[Footnote 1: In a tremulous hand,—"March 14, 1827."]

473.

TO HERR MOSCHELES.

Vienna, March 14, 1827.

MY DEAR MOSCHELES,—

I recently heard, through Herr Lewisey,[1] that in a letter to him of the 10th February, you had made inquiries as to the state of my health, about which such various rumors have been circulated. Although I cannot possibly doubt that you have by this time received my letter of February 22d, which explains all you wish to know, still I cannot resist thanking you for your sympathy with my sad condition, and again imploring you to attend to the request contained in my first letter. I feel already certain that, in conjunction with Sir Smart and other friends, you are sure to succeed in obtaining a favorable result for me from the Philharmonic Society. I wrote again to Sir Smart also on the subject.

I was operated on for the fourth time on the 27th of February, and now symptoms evidently exist which show that I must expect a fifth operation. What is to be done? What is to become of me if this lasts much longer? Mine has indeed been a hard doom; but I resign myself to the decrees of fate, and only constantly pray to God that His holy will may ordain that while thus condemned to suffer death in life, I may be shielded from want. The Almighty will give me strength to endure my lot, however severe and terrible, with resignation to His will.

So once more, dear Moscheles, I commend my cause to you, and shall anxiously await your answer, with highest esteem. Hummel is here, and has several times come to see me.

Your friend,

BEETHOVEN.

[Footnote 1: Schindler mentions, on Beethoven's authority, that this gentleman translated Beethoven's letters to Smart into English, which his nephew had previously done.]

474.[1]

TO SCHINDLER.—

March 17, 1827.

WONDERFUL! WONDERFUL! WONDERFUL!—

Both the learned gentlemen are defeated, and I shall be saved solely by Malfatti's skill! You must come to me for a few minutes without fail this forenoon.

Yours,

BEETHOVEN.

[Footnote 1: Schindler dates this note March 17, 1827, and says that these are the last lines Beethoven ever wrote. They certainly were the last that he wrote to Schindler. On the back of the note, in another writing (probably Schindler's), the receipt is given in pencil for the bath with hay steeped in it, ordered by Malfatti, which the poor invalid thought had saved his life. The "learned gentlemen" are Dr. Wawruch and the surgeon Seibert, who had made the punctures.]

475.

TO MOSCHELES.

Vienna, March 18, 1827.

No words can express my feelings on reading your letter of the 1st of March. The noble liberality of the Philharmonic Society, which almost anticipated my request, has touched me to my inmost soul.[1] I beg you, therefore, dear Moscheles, to be my organ in conveying to the Society my heartfelt thanks for their generous sympathy and aid.

[Say[2] to these worthy men, that if God restores me to health, I shall endeavor to prove the reality of my gratitude by my actions. I therefore leave it to the Society to choose what I am to write for them—a symphony (the 10th) lies fully sketched in my desk, and likewise a new overture and some other things. With regard to the concert the Philharmonic had resolved to give in my behalf, I would entreat them not to abandon their intention. In short, I will strive to fulfil every wish of the Society, and never shall I have begun any work with so much zeal as on this occasion. May Heaven only soon grant me the restoration of my health, and then I will show the noble-hearted English how highly I value their sympathy with my sad fate.] I was compelled at once to draw for the whole sum of 1000 gulden, being on the eve of borrowing money.

Your generous conduct can never be forgotten by me, and I hope shortly to convey my thanks to Sir Smart in particular, and to Herr Stumpff. I beg you will deliver the metronomed 9th Symphony to the Society. I enclose the proper markings.

Your friend, with high esteem,

BEETHOVEN.

[Footnote 1: A hundred pounds had been sent at once.]

[Footnote 2: In the original the words placed within brackets are dictated by Beethoven himself, and were indeed the last he ever dictated—but they are crossed out.]

476.

CODICIL.[1]

Vienna, March 23, 1827.

I appoint my nephew Carl my sole heir. The capital of my bequest, however, to devolve on his natural or testamentary heirs.

LUDWIG VAN BEETHOVEN.[2]

[Footnote 1: See No. 463. Schindler relates:—"This testament contained no restrictions or precautionary measures with regard to his heir-at-law, who, after the legal forms connected with the inheritance were terminated, was entitled to take immediate possession of the whole. The guardian and curator, however, knowing the unexampled levity of the heir, had a valid pretext for raising objections to these testamentary depositions. They therefore suggested to the maestro, to alter his intentions in so far as to place his property in trust; his nephew to draw the revenue, and at his death the capital to pass to his direct heirs. Beethoven, however, considered such restraints as too severe on the nephew whom he still so dearly loved in his heart [since December of the previous year the young man had been a cadet in a royal regiment at Iglau, in Moravia], so he remonstrated against this advice; indeed he reproached Hofrath Breuning as the person who had suggested such harsh measures. A note, still extant, written by Breuning to Beethoven, shows the state of matters, in which he still maintains, though in moderate language, the absolute necessity of the above precautions. This mode of argument seemed to make an impression on the maestro, who at last promised to yield his own wishes. By his desire, Breuning laid the codicil of three lines before him, and Beethoven at once proceeded to copy it, which was no easy matter for him. When it was finished he exclaimed, 'There! now I write no more!' He was not a little surprised to see on the paper the words 'heirs of his body' changed into 'natural heirs.' Breuning represented to him the disputes to which this destination might give rise. Beethoven replied that the one term was as good as the other, and that it should remain just as it was. This was his last contradiction."]

[Footnote 2: Next day, at noon, he lost consciousness, and a frightful death-struggle began, which continued till the evening of March 26, 1827, when, during a violent spring storm of thunder and lightning, the sublime maestro paid his last tribute to that humanity for which he had made so many sacrifices in this world, to enter into life everlasting, which, from his life and actions, few could look forward to more hopefully.]



INDEX.

Academies, concerts given by Beethoven, so called. The grand concerts of the year 1824.

Address and appeal to London artists, from Beethoven.

Adlersburg, Dr. von, Court advocate and barrister at Vienna, "a most inconsiderate character," for some time Beethoven's lawyer.

Aesthetical observations on particular subjects.

Albrechtsberger, the popular theorist and composer, Kapellmeister at St. Stephen's in Vienna, for some time, about the year 1795, Beethoven's instructor in musical composition.

Amenda of Courland, afterwards rector in Talsen.

"A.M.Z." See Leipzig "Allgemeine Musikalische Zeitung."

Andre, composer and music publisher in Offenbach on the Maine.

Archduke Carl.

Arnim, Frau von. See Brentano, Bettina.

Artaria, print and music publisher in Vienna.

Attorney, power of.

Augarten, the well-known park near Vienna, in which morning concerts were frequently given.

Augsburg.

Austria, Beethoven's sentiments respecting that country, his second father-land.

Bach, Dr. Johann Baptist, Court advocate and barrister, from the year 1816 Beethoven's lawyer at Vienna.

Bach, Johann Sebastian.

Baden, near Vienna, a favorite watering-place, to which Beethoven often resorted.

Bauer, chief secretary to the Austrian Embassy in London.

Baumeister, private secretary to the Archduke Rudolph.

Beethoven's brother Carl, born at Bonn in 1774, instructed in music by Beethoven; afterwards came to Vienna, where he occupied the appointment of cashier in the Government Revenue (died Nov. 15, 1815).

His brother Johann, born in 1776, an apothecary, first in Linz, afterwards in Vienna, and at a later period proprietor of Gneixendorf, an estate near Krems, on the Danube; named by Beethoven, "Braineater," "Pseudo-brother," "Asinanios," &c.

His brother Ludwig Maria.

His father, Johann, son of Ludwig van Beethoven, Kapellmeister to the Elector of Cologne, Court tenor singer at the Electoral Chapel at Bonn, a man possessing no considerable mental endowments, but an excellent musician, and Beethoven's first instructor in music. Unhappily, he was so addicted to habits of intemperance, that he greatly impoverished his family, the care of which, owing to the father's recklessness, devolved entirely upon his son Ludwig (died Dec. 1792).

His grandfather, Ludwig van Beethoven, Kapellmeister to the Elector of Cologne (died 1774).

His mother, Maria Magdalena Kewerich, the wife, first of Leym of Ehrenbreitstein, cook to the Elector of Treves, and afterwards of Johann van Beethoven, in Bonn, Court tenor singer to the Elector of Cologne. She gave birth to her illustrious son Ludwig on Dec. 17, 1770, and died July 17, 1787.

His nephew, Carl, son of his brother Carl, Beethoven's ward from the year 1815. Entered the Bloechlinger Institute, at Vienna, June 22, 1819. Letters to him from Beethoven.

His sister-in-law, Johanna, wife of his brother Carl and mother of his nephew, named by Beethoven "The Queen of the Night."

Beethoven's Works. In General.

I. For pianoforte only. Sonatas of the year 1783. Op. 22. Op. 31. Op. 90. Op. 106. Op. 109. Op. 111. Variations. Bagatelles. "Allegri di Bravoura."

II. For pianoforte with obbligato instruments. For pianoforte and violin:—Sonatas. Sonatas with violoncello. Twelve Variations in F on the Theme from "Figaro," "Se vuol ballare." Rondo. Variations with violoncello and violin. for hautboys and horn. Trios. Concertos. Fantasia with chorus.

III. Quartets.

IV. Instrumental pieces. Septet. Quintets. Violin Romance.

V. Orchestral music. Symphonies. The Ninth. Minuet and Interlude. Music for the ballet of "Prometheus." "Egmont." "King Stephen." "The Ruins of Athens." "Wellington's Victory at Vittoria." March to "Tarpeia." Gratulation Minuet. Marches. Overtures.

VI. Vocal music. "Adelaide." "Ah! Perfido." "Heart, my Heart," and "Knowest Thou the Land?" "To Hope." Aria for bass voice with chorus. Terzet on Count Lichnowsky. Canon for Spohr. "The Glorious Moment." On Mdlle. Milder-Hauptmann. Scotch songs. Canon for Schlesinger; for the Archduke Rudolph; on Tobias Haslinger. Various songs; two grand songs with chorus from Goethe and Matthisson. Choruses. "Empitremate." Elegy. "Meeresstille und glueckliche Fahrt." Opferlied. Canons; for Rellstab; for Braunhofer; for Kuhlau; for Schlesinger. Terzet.

VII. Operas. Grillparzer's "Melusina." "Fidelio" in Dresden.

VIII. Church music and Oratorios. "Missa solennis."

Benedict, Julius, in London, a composer, the pupil of C.M. von Weber.

Berlin.

Bernard, Carl, an author, editor of the "Wiener Zeitschrift."

Bihler, J.N., a special admirer of Beethoven, one of the subscribers to, and the bearer of, the address presented to Beethoven in the year 1824, in which the master was requested again to present himself and his works to the Viennese public.

Birchall, music publisher in London.

"Birne, zur goldnen," an eating-house in the Landstrasse, Vienna.

Bloechlinger, proprietor of an educational institution at Vienna.

Bocklet, Carl Maria, of Prague, pianist in Vienna.

Boehm, Joseph, a distinguished concerto violinist, professor at the Vienna Conservatory, and the teacher of Joachim.

Bolderini.

Bonn, residence of the Elector of Cologne, and Beethoven's birthplace, which he left in the year 1792, never again to visit.

Braunhofer, Dr., for some time Beethoven's surgeon at Vienna.

Breitkopf & Haertel, the well-known book and music publishers in Leipzig.

Brentano, Bettina, became Frau von Arnim in 1811.

Brentano, Clemens, the poet.

Brentano, F.A., merchant at Frankfort, an admirer of Beethoven's music. See also Tonie.

Breuning, Christoph von.

Breuning, Dr. Gerhard von, Court physician at Vienna, son of Stephan von Breuning.

Breuning, Eleonore von, daughter of Councillor von Breuning, in Bonn, the friend and pupil of Beethoven; in 1802 became the wife of Dr. Wegeler, afterwards consulting physician at Coblenz.

Breuning, Frau von, widow of Councillor von Breuning, into whose house Beethoven was received as one of the family, and where he received his first musical impressions.

Breuning, Lenz (Lorenz), youngest son of the "Frau Hofrath."

Breuning, Stephan von, of Bonn; came to Vienna in the spring of 1800, where he became councillor, and died in 1827.

Browne, Count, of Vienna, an admirer of Beethoven's music.

Bruehl, the, a village and favorite pleasure resort near Vienna.

Brunswick, Count Franz von, of Pesth, one of Beethoven's greatest admirers and friends in Vienna.

Bonaparte, Ludwig, King of Holland.

"Caecilia, a Journal for the Musical World," &c.

Carl, Archduke. See Archduke Carl.

Carlsbad.

Cassel.

Castlereagh, the well-known English minister.

Cherubini. Visited Vienna in 1805.

Clement, Franz, born 1784, died 1842, orchestral director at the "Theater an der Wien."

Clementi.

Collin, the famous Austrian poet.

Cornega, a singer in Vienna commended to Beethoven by Schindler.

Court Theatre, Beethoven's letter to the directors of the.

Cramer, John, the celebrated London pianist, also a music publisher.

Czerny, Carl, in Vienna, the well known writer of pianoforte studies.

Czerny, Joseph, in Vienna.

Deafness of Beethoven.

De la Motte-Fouque, the poet of "Undine," which he had arranged as an Opera libretto for T.A. Hoffmann.

Del Rio, Giannatasio, proprietor of an academy at Vienna, under whose care Beethoven placed his nephew Carl from the year 1816 to 1818.

Diabelli, Anton, composer and music publisher in Vienna.

Doebling, Ober- and Unter-Doebling, near Vienna, Beethoven's occasional summer residence.

Dresden.

Drossdick, Baroness Therese, to whom Beethoven was greatly attached.

Duport, director of the Kaernthnerthor Theatre in the year 1823.

Eisenstadt, in Hungary, the residence of Prince Esterhazy, where Beethoven remained on a visit in the years 1794 and 1808.

English language, Beethoven's correspondence in the.

Erdoedy Countess, in Vienna, one of Beethoven's best friends.

Ertmann, Baroness Dorothea (nee Graumann), a friend of Beethoven, and one of the most accomplished pianists in Vienna; she especially excelled in the performance of Beethoven's compositions.

Esterhazy, Prince Paul, son of the protector of Haydn, and himself, at a later period, an ardent admirer of that master.

France.

Frank, Dr.

Frank, Frau, in Vienna.

"Frau Schnaps," Beethoven's housekeeper during the latter years of his life; called also "The Fast-sailing Frigate" and "The Old Goose."

French language, Beethoven's correspondence in the.

Fries, Count, in Vienna, an admirer of Beethoven's works.

Fux, the well-known old theorist and composer, in Vienna, author of the "Gradus ad Parnassum."

Gallizin, Prince Nikolaus Boris, at St. Petersburg, a zealous friend of art, from whom Beethoven received an order for his last quartet.

Gebauer, Franz Xaver, founder of the "Concerts Spirituels" at Vienna.

Gerardi, Mdlle.

Girowetz, Court musical director at the "Burgtheater."

Giuliani, a celebrated guitar player at Vienna.

Glaeser, Beethoven's copyist from the year 1823.

Gleichenstein, Baron, of Rothweil, near Freiburg in Breisgau, a friend of Beethoven at Vienna. He left Vienna about the year 1815, and only revisited that city once afterwards, in 1824.

Gneixendorf, the estate of Beethoven's brother Johann, near Krems, on the Danube, which Beethoven visited, accompanied by his nephew, in the autumn of 1826.

Goethe.

Gratz, in Styria.

Grillparzer.

Guicciardi, Countess Giulietta, Beethoven's "immortal beloved."

Hammer-Purgstall, the distinguished Orientalist in Vienna.

Handel.

Haslinger, Tobias, music publisher at Vienna.

Hauschka, Vincenz, Government auditor, a friend of Beethoven.

Heiligenstadt, near Vienna, a favorite summer residence of Beethoven, where, among other works, the "Pastoral Symphony" was written by him.

Hetzendorf, a favorite suburban residence near Vienna.

Hoffmann, Th. Amadeus.

Hofmeister, Kapellmeister and music publisher, first in Vienna, and afterwards in company with Kuehnel in Leipzig (now Peters's Bureau de Musique). See also Peters.

Holz, Carl, Government official at Vienna, an accomplished violinist, born in 1798; became a member of the Schuppanzigh Quartets in 1824, and afterwards director of the Concerts Spirituels in that capital; a Viennese of somewhat dissolute habits, by whom even the grave master himself was at times unfavorably influenced.

Homer, especially the Odyssey, a favorite study of Beethoven.

Hoenigstein, a banker in Vienna.

Hummel, Johann Nepomuk, the celebrated composer and pianist, a pupil of Mozart, and for some time Beethoven's rival in love matters, having married the sister of the singer Roeckel, to whom Beethoven also was much attached (see also Schindler's "Biography," i. 189).

Hungary, Beethoven there.

Imperial Court at Vienna.

Imperial High Court of Appeal, letter from Beethoven to the.

Jenger, Chancery officer in the Imperial War Office at Vienna, a passionate lover of music.

Kalkbrenner.

Kandeler, testimonial from Beethoven in favor of.

Kanne, F.A., at Vienna, highly appreciated in his day as a poet, composer, and critic, an intimate friend of Beethoven, and occasionally his guest (see also Schindler's "Biography," i. 228).

Kauka, Dr., Beethoven's advocate in Prague.

Kiesewetter, Councillor von, in Vienna, the popular writer on the science of music, one of the subscribers to the great address presented to Beethoven in February, 1824.

Kinsky, Prince Ferdinand, of Bohemia, one of Beethoven's most devoted patrons in Vienna.

Kinsky, Princess.

Kirnberger, of Berlin, the well-known theorist.

Koch, Barbara, of Bonn, daughter of the landlord of the "Zehrgaden," the friend of Eleonore von Breuning, an amiable and intelligent lady, at whose house the leading persons of the town were accustomed to assemble; she afterwards became governess to the children of Count Belderbusch, whom she married in 1802.

Koenneritz, Von, principal director of the Court band and Opera in Dresden.

Kraft, Anton, a celebrated violoncello-player in Vienna.

Kuhlau, Friedrich, the distinguished flute-player, a great admirer of Beethoven's music.

Kuehnel, in Leipzig. See Hofmeister.

Laibach, the Philharmonic Society of.

Landrecht, Beethoven's address to the honorable members of the.

Leidesdorf, M.J., composer and music publisher in Vienna, a subscriber to the great address presented to Beethoven in 1824.

Leipzig "Allgemeine Zeitung," established in 1798; its remarks at first unfavorable towards Beethoven.

Lichnowsky, Count Moritz, brother of Prince Carl Lichnowsky, and, like him, the friend and patron of Beethoven. Schindler, in his "Biography," i. 241, n., relates as follows:—"The acute perception of the Count led him, on a nearer acquaintance with the work, to surmise that it had been written with some special intentions. On being questioned on this matter, the author replied that he had intended to set the Count's love-story to music, and that if he needed titles for it, he might write over the first piece, 'Fight between Head and Heart,' and over the second, 'Conversation with the Loved One.' After the death of his first wife, the Count had fallen deeply in love with a distinguished opera singer, but his friends protested against such an alliance. After a contest of many years' duration, however, he at last succeeded, in 1816, in removing all hindrances to their union."

Lichnowsky, Prince Carl, a friend and pupil of Mozart, and afterwards a most zealous patron of Beethoven in Vienna (died April 15, 1814).

Liechtenstein, Princess, in Vienna, Beethoven's patroness.

Linke, born 1783, a distinguished violoncello player, member of the Rasumowsky Quartets.

Lobkowitz, Prince, one of Beethoven's most zealous patrons in Vienna.

London, England, and the English.

Luther.

Maelzel, mechanician to the Imperial Court of Vienna, the well-known inventor of the metronome.

Malchus, a youthful friend of Beethoven in Bonn, in later years Minister of Finance of the kingdom of Westphalia, and afterwards of that of Wirtemberg (died at Stuttgart in 1840).

Malfatti, Dr., a celebrated surgeon in Vienna; Beethoven under his treatment in 1814.

Marconi, contralto singer in Vienna.

Marx, A.B., music director and professor at the University of Berlin; edited, when in his twentieth year, the "Berliner Musikzeitung," a journal whose publication, unfortunately, lasted but a few years only. Next to T.A. Hofmann, he was the first who fully and thoroughly appreciated Beethoven's music in all its depth and grandeur, and who manfully and intelligently defended the lofty genius of the master against the base attacks to which it was at times exposed; he has remained until the present day the most efficient representative of the progress of musical art.

Matthisson, the poet.

Maximilian Franz, youngest brother of the Emperor Joseph II., Elector of Cologne from the year 1785, and one of the noblest and most zealous patrons of the young Beethoven, on whom, in 1785, he conferred the appointment of Court organist, and in 1787, with a view to the further cultivation of his talents, sent him to Vienna, assisting him in every way until the year 1794, at which period his country fell entirely under the dominion of France (died in 1801).

Maximilian, Friedrich, Elector of Cologne until the year 1784; the first noble patron of Beethoven, whom he placed under the instruction of the Court organist Von der Eeden, and afterwards, on the death of that musician, under Neefe; as an acknowledgment for which kindness, and in proof of the success which had attended his studies, the young composer, then only eleven years of age, dedicated his first sonatas to his benefactor.

Mayseder, the celebrated violinist (died at Vienna in 1863).

Meyer, Friedrich Sebastian, a singer (born 1773, died 1835), the husband of Mozart's eldest sister-in-law, who frequently, even in Beethoven's presence, made some boastful remark in praise of his deceased relative; such as "My brother-in-law would not have written that!"

Metronome, an instrument for measuring tune in music, invented about the year 1815 by Maelzel, of Vienna, and often employed and spoken of by Beethoven.

Milder-Hauptmann, Mdlle., the celebrated singer, first in Vienna and afterwards in Berlin.

Moedling, a village near Vienna, and Beethoven's favorite summer residence.

Mollo, music publisher in Vienna, afterwards the firm of Steiner & Co., and at a later period that of Haslinger.

Moelk, the celebrated abbey on the Danube.

Moelker Bastei, the, at Vienna, on several occasions Beethoven's residence in the house of Baron von Pasqualati (see also Schindler's "Biography," i. 187).

Moscheles.

Mosel, Hofrath Ignaz von, in Vienna, a well-known music writer, and the founder of the Conservatory of Music in that capital.

Mozart.

Munich.

Mythological subjects, reference made to, by Beethoven, who, as it is well known, possessed a considerable acquaintance with ancient history.

Naegeli, Hans Georg, the distinguished founder of men's vocal unions in Switzerland, also a popular composer of vocal music, a music publisher, and, at a later period, educational inspector in Zurich.

Napoleon, when General Bonaparte, so greatly admired by Beethoven, that on the occasion of that General's appearance, the master was incited to compose the "Eroica," which he dedicated to him ("Napoleon Buonaparte—Luigi van Beethoven"). On hearing, however, of the coronation of his hero as Emperor, he angrily cast aside the intended presentation copy of his work, and refused to send it to him.

Neate, Charles, a London artist, and a great admirer of Beethoven, with whom he became acquainted in Vienna in the year 1816.

Nussboeck, town sequestrator at Vienna, for some time the guardian of Beethoven's nephew.

Nussdorf, a favorite summer residence on the Danube, near Vienna.

Oliva, a philologist and friend of Beethoven. According to Schindler ("Biography," i. 228), he repaired to St. Petersburg in 1817, in which city he settled as professor of German literature; Schindler is, however, mistaken in the date which he has given.

Oppersdorf, Count Franz von, Beethoven's friend and patron.

Pachler-Koschak, Marie, of Gratz, to whom Beethoven was warmly attached.

Papageno.

Paris.

Parry, Captain, wrote on the music of the Esquimaux.

Pasqualati, Baron von, merchant in Vienna, an ardent admirer of Beethoven, and his constant benefactor. In 1813 Beethoven again occupied apartments appropriated to his use by the Baron at his residence on the Moelker Bastei, and remained there until 1816.

Penzing, a village near Vienna, a favorite summer residence.

Peters, C.F., "Bureau de Musique" in Leipzig (see also Hofmeister).

Peters, councillor of Prince Lobkowitz at Vienna, a friend of Beethoven.

Philharmonic Society in London. In Laibach.

Pianoforte, Beethoven's remarks concerning the.

Pilat, editor of the "Austrian Observer."

Plutarch.

Portraits of Beethoven.

Potter, Cipriani, pianist in London.

Prague.

Prince Regent, the, afterwards George IV. of England.

Probst, music publisher in Leipzig.

Prussia.

Punto (alias Stich) a celebrated horn player, to whom Beethoven was mainly indebted for his knowledge of that instrument (died 1804).

"Queen of the Night." See Beethoven's sister-in-law.

Radziwill, Prince, at Berlin, a devoted patron of music and the composer of music to "Faust."

Rampel, Beethoven's copyist about the year 1824.

Rasumowsky, Count, afterwards Prince, Russian ambassador at Vienna, an ardent lover of music.

Recke, Elise von der, the well-known poetess.

Reisser, vice-director of the Polytechnic Institution at Vienna, co-guardian of Beethoven's nephew in the year 1825.

Religious and moral sentiments on particular subjects.

Rellstab, Ludwig, a writer and poet, for many years editor of the "Vossische Zeitung," in Berlin.

Ries, Ferdinand, son of the preceding, a pupil of Beethoven and a distinguished composer. Quitted Vienna in 1805, and, with the exception of a short residence there, on his return from Russia in the autumn of 1808, never again returned to that capital (Schindler, i. 227).

Ries, Franz, Court musician to the Elector of Cologne, a helpful friend to Beethoven (born 1755).

Rochlitz, Friedrich, the well-known writer on the science of music, and for nearly twenty-five years editor of the Leipzig "Allgemeine Musikzeitung," a man who, notwithstanding his entire lack of historical acumen and his limited acquaintance with the technicalities of music, did very much towards liberating the art from its mechanical condition, and promoting its intellectual appreciation by the public. He was in Vienna in the year 1822, where he became personally acquainted with Beethoven, but never fully appreciated the genius of the master,—a circumstance which Beethoven himself most deeply felt, even after the retirement of Rochlitz from the editorship of that journal, and which formed the subject of many ironical remarks on the part of Beethoven respecting these representatives of the so-called Old-German national composers.

Roeckel, singer of the part of Florestan in Vienna in 1806, still living at Bath, in England.

Rode, the celebrated violinist; came to Vienna in the winter of 1812-13, where he became acquainted with Beethoven.

Rudolph, Archduke, youngest brother of the Emperor Franz, born 1788, died 1831, a passionate lover of music, and himself a composer; he became Beethoven's pupil in 1808, and in 1819 Cardinal-Archbishop of Olmuetz.

Russia.

Rzehatschek, in Vienna.

Salieri, Kapellmeister at Vienna, a contemporary and rival of Haydn and Mozart, for some time Beethoven's instructor in the dramatic style.

Salomon, J.P., of Bonn, the celebrated violinist, until the year 1782 director of the concerts of Prince Heinrich of Prussia; he afterwards came to London, where he became chiefly instrumental in the introduction of German music into that capital; as is well known, it was owing to him also that J. Haydn was induced to visit England.

Sarastro.

Sartorius, royal censor at Vienna (see also Schindler's "Biography," ii. 69).

Saxony. See also Dresden.

Schade, Dr., advocate at Augsburg, a helpful friend of the young Beethoven.

Schenk, the well-known composer of the "Village Barber," for some time Beethoven's instructor in Vienna (died 1836).

Schiller.

Schindler, Anton, of Moravia, Beethoven's sincere friend and biographer (born 1790, died 1864); he became acquainted with Beethoven towards the end of March, 1814.

Schlemmer, for many years Beethoven's copyist until 1823.

Schlemmer, a gentleman living in the Alleengasse, auf der Wieden, in whose house Beethoven placed his nephew Carl (not to be confounded with the copyist of the same name).

Schlesinger, Moritz, music publisher in Berlin and Paris.

Schmidt, Dr., army surgeon in Vienna.

Schoberlechner, Franz, pianist.

Scholz, music director in Warmbrunn.

Schoenauer, Dr., Court advocate and barrister at Vienna, appointed by Beethoven's brother Carl testamentary trustee to his nephew—an intriguing lawsuit-pettifogger.

Schott, music publisher in Mayence.

Schroeder, Wilhelmine, the great singer.

Schuppanzigh, Ignaz, born 1776, died 1830, the celebrated violinist, whose extraordinary corpulence was a frequent subject of Beethoven's witticisms; he was, however, the first who fully appreciated Beethoven's music for stringed instruments, which he performed in a masterly manner. Resided in Russia from 1816 to 1823.

Schweiger, Joseph Freiherr von, chamberlain to the Archduke Rudolph.

Schweizer, Ed. Friedrich von, chamberlain to the Archduke Anton, an admirer of Beethoven's music and subscriber to the address of February 1824.

Sebald, Auguste, the singer.

Seibert, Dr., surgeon in Vienna, Beethoven's operator.

Seyfried, Ignaz Ritter von, the well-known composer, publisher of the spurious edition of "Studies by Ludwig van Beethoven," Kapellmeister in Vienna.

Shakespeare, deeply read and greatly admired by Beethoven.

Siboni, a distinguished tenorist in Vienna.

Sight, Beethoven's weakness of.

Simrock, Court musician (horn player) to the Elector of Cologne, and music publisher in Bonn, a friend of Beethoven's early days.

His son, the present proprietor of the business in Bonn, at Vienna in the summer of 1816.

Sketch by Beethoven.

Smart, Sir George, music publisher in London, a great admirer of Beethoven's music.

Smetana, Dr., surgeon at Vienna; gained considerable popularity by his treatment of deafness.

"Society of Friends to Music in the Austrian States" at Vienna.

Sonntag, Henriette, the celebrated singer.

Spiecker. Dr., of Berlin.

Spohr.

Stadler, Abbe Maximilian (born 1748, died 1833), a composer, and the friend of Mozart; an opponent of the Beethoven school of music (see Schindler's "Biography," i. 80; ii. 109).

Standenheim, a celebrated physician in Vienna.

Stein, pianoforte manufacturer at Vienna, brother of Frau Nanette Streicher.

Steiner, S.A., music publisher in Vienna, succeeded by T. Haslinger.

Sterkel, Franz Xaver, a pleasing pianist and composer, whom Beethoven visited at Aschaffenburg in 1791, and greatly astonished by his pianoforte playing.

Stoll, a young poet at Vienna.

Streicher, Andreas, the well-known friend of Schiller's early days. He married, when in his nineteenth year, Nanette Stein, only daughter of the celebrated pianoforte manufacturer at Augsburg, whom he took with him to Vienna, where he first became teacher of the pianoforte, and afterwards, by the assistance of his wife, who had made herself acquainted with her father's art, founder of the celebrated Streicher pianoforte manufactory. Schindler, in his "Biography," i. 187, speaks of the interest taken by Frau Streicher in Beethoven's domestic matters.

Stumpff, harp manufacturer in London, an admirer of Beethoven's works.

Swedish Academy of Music.

Theatres: Josephstadt; Kaernthnerthor; "An der Wien."

Tiedge, the poet of "Urania," and also of the song "An die Hoffnung," so much admired by Beethoven, and several times set to music by him.

Tonie, Antonie, of Birkenstock, daughter of a family in Vienna from which Beethoven received great kindness from the first period of his residence in that capital, and in which, in the year 1810, Bettina lived, who afterwards became the wife of B.A. Brentano, a merchant in Frankfort, to whom Beethoven was greatly indebted.

Toeplitz, in Bohemia.

Trautmannsdorf, Prince, High Chamberlain.

Travels and travelling projects of Beethoven. See also London.

Treitschke, stage poet at Vienna.

Unger, the celebrated singer.

University, the, of Vienna.

Ursulines, convent of the, at Gratz, in Styria, music supplied by Beethoven in aid of.

Varenna, Kammerprocurator at Gratz.

Varnhagen von Ense.

Vering, Dr., army surgeon at Vienna.

Vienna, Beethoven's settled residence from the year 1792, of which, however, he never spoke favorably.

Wawruch, Dr., clinical professor, Beethoven's last surgeon.

Weber, Carl Maria von.

Weber, Gottfried, theorist and composer.

Wegeler, Dr., of Bonn, an early friend of Beethoven.

Weigl, Joseph, composer of the "Swiss Family," Kapellmeister at Vienna.

Weinmueller, singer at the Kaernthnerthor Theatre.

Weiss, tenor player at Vienna.

Westphalia, Beethoven offered the appointment of Kapellmeister to the King of, in 1808.

Wieden, a suburb of Vienna, on several occasions Beethoven's residence.

Wieland.

Wills, Beethoven's.

Wolf, Dr., advocate in Prague.

Zelter, the song composer and friend of Goethe, director of the Academy of Vocal Music at Berlin.

Zmeskall von Domanowecz, Court secretary at Vienna, one of Beethoven's earliest friends in the Imperial city, a good violoncello player and also a composer.

Zulehner, music publisher at Mayence.

Zurich.



THE END