Beethoven's Letters 1790-1826 Volume II Part 29

402.[1]

TO * * *

SIR,--

Through the stupidity of my housekeeper your mother was recently sent away from my house, without my having been informed of her visit. I highly disapprove of such incivility, especially as the lady was not even shown into my apartments. The _rudeness_ and _coa.r.s.eness_ of the persons whom I am so unfortunate as to have in my service are well known to every one; I therefore request your forgiveness.

Your obedient servant,

L. V. BEETHOVEN.

[Footnote 1: In the New Vienna _Musik Zeitung_ the occasion of this note is thus related:--"In 1825, a well-known artist and _dilettante_ in the composition of music published a book of waltzes, each of these being composed by the most popular and celebrated musicians of the day; as no one declined giving a musical contribution to the editor, the profits being intended to enable him to go to Carlsbad for the benefit of the waters there. The work met with unusual support and sympathy. It then occurred to the editor to apply for a contribution to the great Ludwig van Beethoven, with whom he had been acquainted in former days through his father and grandfather. The great musician at once, in the most gracious and amiable manner, promised to comply with the request, and sent him not only a waltz, but (the only one who did so) also a trio, desiring the editor to send in the course of a month for these works, which would by that time be completed. As the editor was in the mean time taken ill, he was not able to call for the work himself, and was thus obliged to give up this interesting visit. He therefore requested his mother to apply for the waltz, &c., and to express his thanks; but the housekeeper, to whom she gave her name, refused to admit her, saying she could not do so, 'for her master was in such a crazy mood.' As at this very moment Beethoven chanced to put his head in at the door, she hurried the lady into a dark room, saying, 'Hide yourself, as it is quite impossible that anyone can speak to him to-day,'

getting out of the way herself as fast as she could. A couple of days afterwards Beethoven sent the waltz, &c., to the house of the musical editor in question, with the above letter."]

403.

TO F. RIES.

Vienna, April 9, 1825.

MY DEAR GOOD RIES,--

I write only what is most pressing! So far as I can remember in the score of the Symphony [the 9th] that I sent you, in the first hautboy, 242d bar, there stands [Music: F E D] instead of [Music: F E E]. I have carefully revised all the instrumental parts, but those of the bra.s.s instruments only partially, though I believe they are tolerably correct. I would already have sent you my score [for performance at the Aix musical festival], but I have still a concert in prospect, if indeed my health admits of it, and this MS. is the only score I possess. I must now soon go to the country, as this is the only season when I profit by it.

You will shortly receive the second copy of the "Opferlied;" mark it at once as corrected by myself, that it may not be used along with the one you already possess. It is a fine specimen of the wretched copyists I have had since Schlemmer's death. It is scarcely possible to rely on a single note.

As you have now got all the parts of the _finale_ of the Symphony copied out, I have likewise sent you the score of the choral parts. You can easily score these before the chorus commences, and when the vocal parts begin, it could be contrived, with a little management, to affix the instrumental parts just above the scored vocal parts. It was impossible for me to write all these out at once, and if we had hurried such a copyist, you would have got nothing but mistakes.

I send you an Overture in C, 6/8 time, not yet published; you shall have the engraved parts by the next post. A _Kyrie_ and _Gloria_, two of the princ.i.p.al movements (of the solemn Ma.s.s in D major), and an Italian vocal duet, are also on their way to you. You will likewise receive a grand march with chorus, well adapted for a musical performance on a great scale, but I think you will find what I have already sent quite sufficient.

Farewell! You are now in the regions of the Rhine [Ries at that time lived at G.o.desberg, near Bonn], which will ever be so dear to me! I wish you and your wife every good that life can bestow! My kindest and best regards to your father, from your friend,

BEETHOVEN.

404.

TO HERR JENGER,--VIENNA.[1]

1824.

MY ESTEEMED FRIEND,--

It will give me much pleasure to send you some day soon the score of Matthisson's "Opferlied." The whole of it, published and unpublished, is quite at your service. Would that my circ.u.mstances permitted me to place at once at your disposal the greater works I have written, before they have been heard. I am, alas! fettered on this point; but it is possible that such an opportunity may hereafter occur, when I shall not fail to take advantage of it.

The enclosed letter is for Hofrath v. Kiesewetter. I beg you will be so good as to deliver it, especially as it concerns yourself quite as much as the Herr Hofrath.

I am, with high esteem, your devoted friend,

BEETHOVEN.

[Footnote 1: This note is addressed to Jenger in Vienna, a chancery official and a musical amateur, connoisseur, factotum, and distinguished pianist. The date is not known. The _Opferlied_ he refers to, is undoubtedly the 2d arrangement, Op. 121-b, which according to the Leipzig _A.M. Zeitung_ was performed as Beethoven's "most recent poetical and musical work," at the concert in the Royal Redoutensaal, April 4, 1824.]

405.

TO SCHOTT.

I have much pleasure in herewith contributing to the "Cecilia"[1] and its readers some Canons written by me, as a supplement to a humorous and romantic biography of Herr Tobias Haslinger residing here, which is shortly to appear in three parts.

In the _first_ part, Tobias appears as the a.s.sistant of the celebrated and solid Kapellmeister f.u.x, holding the ladder for his _Gradus ad Parna.s.sum_.

Being, however, mischievously inclined, he contrives, by shaking and moving the ladder, to cause many who had already climbed up a long way, suddenly to fall down, and break their necks.

He now takes leave of this earthly clod and comes to light again in the _second_ part in the time of Albrechtsberger. The already existing f.u.x, _nota cambiata_, is now dealt with in conjunction with Albrechtsberger. The alternating subjects of the Canon are most fully ill.u.s.trated. The art of creating musical skeletons is carried to the utmost limit, &c.

Tobias begins once more to spin his web as a caterpillar, and comes forth again in the _third_ part, making his third appearance in the world. His half-fledged wings bear him quickly to the Paternosterga.s.sel, of which he becomes the Kapellmeister. Having emerged from the school of the _nota cambiata_, he retains only the _cambiata_ and becomes a member of several learned societies, &c. But here are the Canons.

On a certain person of the name of Schwencke.[2]

[Music: treble clef, key of F major, 3/4 time.

Schwen-ke dich, Schwen-ke dich oh-ne Schwan-ke, oh-ne Schwan-ke, oh-ne Schwan-ke, oh-ne Schwan-ke Schwen-ke dich, schwen-ke dich, schwen-ke dich ]

On a certain person of the name of Hoffmann.

[Music: treble clef, key of C, 3/4 time.

Hoff-mann! Hoff-mann! Sei ja kein Hof-mann!

ja kein Hof-mann! nein, nein nein ich hei-e Hoff-mann und bin kein Hof-mann]

LUDWIG VAN BEETHOVEN.

[Footnote 1: A periodical published for the musical world, and edited by a society of _savants_, art-critics, and artists; Mayence, B. Schott & Sons.

The publishers applied to Beethoven, in the name of the editors, for a contribution to the _Cecilia_.]

[Footnote 2: It appears that Kapellmeister Schwencke in Hamburg, in many complimentary and flowery phrases, had requested Beethoven to send him his autograph. Perhaps Beethoven, to whom the sound of certain names appeared comical, alludes here to this Hamburg Kapellmeister Schwencke.]

406.

TO LUDWIG RELLSTAB.

May 3, 1825.

As I was just starting for the country yesterday, I was obliged to make some preparations myself; so unluckily your visit to me was in vain.

Forgive me in consideration of my very delicate health. As perhaps I may not see you again, I wish you every possible prosperity. Think of me when writing your poems.

Your friend,

BEETHOVEN.