[26] The editor has here thought it advisable to permit Thayer’s original text to stand in the body of the book, although Dr. Deiters made a radical correction in his revision of the first volume of the biography. On the basis of the Fischer manuscript Dr. Deiters relates that the Beethoven family lived in the house in the Rheingasse at the time of the inundation; that Beethoven’s mother sought to stay the alarm of the inmates with encouraging words, but at the last had to make her escape with the others into the Giergasse over boards and down ladders. Admitting that there are many inaccuracies in the recital, Dr. Deiters nevertheless accepts it in this particular and conjectures that Beethoven lived in the house in the Rheingasse until 1785.
[27] B. and H. Ges. Ausg. Serie 18, No. 196.
[28] B. and H. Ges. Ausg. Serie 23, No. 229.
[29] The manuscript contains the solo part complete with the orchestral preludes and interludes in transcription for pianoforte. There are indications that it was scored for small orchestra—strings, flutes and horns only. The composition was long unknown. Thayer included it in his “Chronologisches Verzeichniss” under No. 7, giving the themes. Guido Adler edited it at a much later date, and it has been published in the supplement to the collected works of Beethoven.
[30] Nottebohm conjectured that the movement referred to by Thayer was that for a musical clock, No. 29, in Thayer’s chronological catalogue, there described as a duo. Dr. Deiters thinks that it was a fragment of a composition for pianoforte and violin, No. 131 in the catalogue of the Artaria collection. It contains suggestions of Beethoven’s style, but the manuscript is a copy, not an autograph, and its authenticity is not proven.
[31] In the Fischer MS.: “Short of stature, broad shoulders, short neck, large head, round nose, dark brown complexion; he always bent forward slightly when he walked. In the house he was called der Spagnol (the Spaniard).”
[32] Czerny also related that Beethoven had spoken to him of the harsh treatment and insufficient instruction received from his father. “But,” he added, “I had talent for music.” From a note by Otto Jahn. Also see Cock’s “Musical Miscellany.”
[33] “Urian’s Reise um die Welt.” Op. 52, No. 1, published in 1805.
[34] The manuscript formerly owned by Artaria is now (1907) in the possession of Dr. E. Prieger in Bonn. The figure indicating the composer’s age was first written “14” and then changed.
[35] In the first edition of Jahn’s “Mozart” the date is given as here. In later editions it was corrected in accordance with Thayer’s suggestion to 1787.