The Life of Ludwig van Beethoven, Volume I

by Alexander Wheelock Thayer

As Nottebohm has shown, Beethoven eventually agreed to revise and correct this edition also. A long letter to Breitkopf and Härtel, dated November 13, 1802, gives a lively picture of the excitement which the incident aroused in Beethoven:

I write hurriedly to inform you of only the most important things—know then, that while I was in the country for my health, the arch-scoundrel Artaria borrowed the Quintet from Count Friess on the pretence that it was already published and in existence here and that they wanted it for the purpose of reëngraving because their copy was faulty and as a matter of fact intended to rejoice the public with it in a few days—good Count Fr., deceived and not reflecting that a piece of rascality might be in it, gave it to them—he could not ask me, I was not here, but fortunately I learned of the matter in time, it was on Tuesday of this week, and in my zeal to save my honor and as quickly as possible to prevent your suffering injury, I offered two new works to these contemptible persons if they would suppress the entire edition, but a cooler-headed friend who was with me asked, Do you want to reward these rascals? The case was finally closed under conditions, they assuring me that no matter what you printed they would reprint it, these generous scoundrels decided therefore to wait three weeks after the receipt here of your copies before issuing their own (insisting that Count F. had made them a present of the copy). For one term the contract was to be closed and for this boon I had to give them a work which I value at at least 40 ducats. Before this contract was made comes my good brother as if sent by heaven, he hurries to Count Fr., the whole thing is the biggest swindle in the world, how neatly they kept themselves out of Count F.’s way and so on, and I go to F. and as the enclosed Revers may show that I did all in my power to protect you from injury—and my statement of the case may serve to prove to you that no sacrifice was too great for me to save my honor and save you from harm. From the Revers you will see the measures that must be adopted and you should make all possible haste to send copies here and if possible at the same price as the rascals—Sonnleithner and I will take all further measures which seem to us good, so that their entire edition may be destroyed—please take good notice that Mollo and Artaria combined are already only a shop, that is, a combined lot of scoundrels. The dedication to Friess I hope was not forgotten inasmuch as my brother wrote it on the first sheet—I wrote the Revers myself since my poor brother is very much occupied with work yet did all he could to save you and me, in the confusion he lost a faithful dog which he called his favorite, he deserves that you thank him personally as I have done on my own account—recall that from Tuesday to late last night I devoted myself almost wholly to this matter and the mere thought of this rascally stroke may serve to make you realize how unpleasant it is for me to have anything to do with such miserable men.

“Revers.

“The undersigned pledges himself under no circumstances to send out or sell here or elsewhere the Quintet received from Mr. Count Friess composed by Lud. v. Beethoven until the original edition shall have been in circulation in Vienna 14 days.

“Vienna, 9th month, 1802.

Artaria Comp.”

This R. is signed with its own hand by the Comp. Use the following: Is to be had à Vienne chez Artaria Comp., à Münich chez F. Halm, à Francfort chez Gayl et Nädler, perhaps also in Leipsic chez Meysel—the price is 2 florins Viennese standard. I got hold of twelve copies, which they promised me from the beginning, and corrected them—the engraving is abominable. Make use of all this, you see that on every side we have them in our hands and can proceed against them in the courts.—N.B. Any personal measures taken against A. will have my approval.

Under date of December 5, 1802, Beethoven’s brother Karl wrote to Breitkopf and Härtel on the same subject:

Finally I shall inform you touching the manner in which my brother sells his works. We already have in print 34 works and about 18 numbers. These pieces were mostly commissioned by amateurs under the following agreement: he who wants a piece pays a fixed sum for its exclusive possession for a half or a whole year, or longer, and binds himself not to give the manuscript to anybody; at the conclusion of the period it is the privilege of the author to do what he pleases with the work. This was the understanding with Count Friess. Now the Count has a certain Conti as violin teacher, and to him Artaria turned and he probably for a consideration of 8 or 10 florins said that the quartet (sic) had already been printed and was to be had everywhere. This made Count Friess think that there was nothing more to be lost in the matter and he gave it up without a word to us about it.... Count Friess is not here just now, but he will return in 6 days and then we shall see that you are recompensed in one way or another. I send you the accompanying Revers signed by Artaria for inspection; please return it. This Revers cost my brother 7 days during which time he could do nothing, and me innumerable trips, many unpleasantnesses and the loss of my dog.[108]

Beethoven’s declaration not having been published until more than two months after his letter containing the Revers, the incidents touching which Ries makes report, and the partial reëngraving of the plates, must have taken place after January, 1803, and the end of the quarrel in 1804. Sketches of the Quintet have not been found and the question naturally arises whether or not it might have had an earlier origin or been developed from earlier sketches. A note in a Conversation Book of 1826, indicates that one of the Quintet’s themes was written by Schuppanzigh.