The tone of Beethoven’s correspondence and the many proofs of his untiring industry during the winter 1800-1 and early part of the succeeding spring, suggest a mind at ease, rejoicing in the exercise of its powers, and a body glowing with vigorous health. But for his own words to Wegeler: “I have been really miserable this winter,” the passing allusions to ill health in his replies to Hoffmeister’s letters would merely impress the reader as being half-groundless apologies for lack of punctuality in writing. This chapter will exhibit the young master both as he appeared to the public and as he showed himself in confidential intercourse to the few in whose presence he put aside the mask and laid open his heart; and will, therefore, it is believed, be found fully to justify what has been said of his heroic energy, courage and endurance under a trouble of no ordinary nature.
In the beginning of the year he wrote to Hoffmeister[100] as follows under date “January 15 (or thereabouts), 1801”:
... Your enterprises delight me also and I wish that if works of art ever bring profit that it might go to real artists instead of mere shopkeepers.
The fact that you purpose to publish the works of Sebastian Bach does good to my heart which beats only for the lofty and magnificent art of this patriarch of harmony, and I hope soon to see them in vigorous sale. I hope, as soon as golden peace has been declared, to be helpful in many ways, especially if you offer the works for subscription.
As regards our real business, since you ask it I meet your wishes by offering you the following items: Septet (concerning which I have already written you), 20 ducats; Symphony, 20 ducats; Grand Solo Sonata—Allegro, Adagio, Minuetto, Rondo—20 ducats. This Sonata is a tidy piece of work (hat sich gewaschen), my dearest Mr. Brother.
Now for an explanation: You will wonder, perhaps, that I have made no distinction here between Sonata, Septet and Symphony. I have done this because I have learned that a septet or symphony has a smaller sale than a sonata, though a symphony ought unquestionably to be worth more. (N. B. The Septet consists of a short introductory Adagio, then Allegro, Adagio, Minuetto, Andante with variations, Minuetto again, a short Adagio introduction and then Presto.) I put the price of the Concerto at only 10 ducats because, as I have already written, I do not give it out as one of my best. I do not think the amount excessive on the whole; I have tried, at least, to make the price as moderate as possible for you. As regards the bill of exchange you may, since you leave the matter to me, issue it to Geimüller or Schüller. The whole sum amounts to 70 ducats for the four works. I do not understand any money except Viennese ducats; how many thalers in gold that amounts to does not concern me, I being a really bad negotiator and mathematician.
This disposes of the disagreeable (saure) business; I call it so because I wish things were different in the world. There ought to be only one art warehouse in the world to which an artist would only need to carry his art-works to take away with him whatever he needed; as it is one must be half tradesman; and how we adjust ourselves—good God!—that is what I again call disagreeable. As regards the L... O...,[101] let them talk; they will certainly never make anybody immortal by their twaddle, and as little will they rob anybody of immortality to whom Apollo has decreed it.
Benefit Concerts for Wounded Soldiers
The next letter requires a word of introduction. That military campaign which included the disastrous field of Hohenlinden (December 3, 1800), had filled the hospitals at Vienna, and among the various means of raising funds for the benefit of the wounded, was a series of public concerts. The two in which they reached their climax took place in the large Ridotto room (Redouten-Saal) of the imperial palace. The one arranged by Baron von Braun as Director of the Court Opera, was a performance of Haydn’s “Creation” conducted by the composer, on January 16th; the other was arranged by Mme. Frank (Christine Gerhardi) for January 30th. That lady, Mme. Galvani (Magdalena Willmann) and Herr Simoni were the singers, Beethoven and Punto the instrumental solo performers; Haydn directed two of his own symphonies, Paër and Conti directed the orchestra in the accompaniments to the vocal music. In the first public announcement printed in the “Wiener Zeitung” the only artist mentioned was “the famous amateur singer Frau von Frank, née Gerhardi,” as the giver of the concert. This called out from Beethoven the following letter: