[94] According to Frimmel, “Beethoven’s Wohnungen,” Vienna “Neue Freie Presse,” August 11, 1899, this house was that of Court Councillor Greiner, then No. 241, afterwards 235, now No. 10 in the Tiefen Graben which, slightly altered, still remains. On the strength of Czerny’s statement that one had to look up to the fifth or sixth storey to see Beethoven, and the old report that Beethoven lived “in the Kleine Weintraube,” Frimmel was led to think that possibly he lived in one of the houses on the higher ground behind the Greiner house to which there was access from the open place “Am Hof” as well as from the houses in the Tiefen Graben and the Greiner house. The houses which bore the sign “Zur Weintraube” were situated “am Hofe.”
[95] In B-flat, Op. 22.
[96] The Pianoforte Concerto offered to Hoffmeister was that in B-flat. It was published by Hoffmeister and Kühnel toward the end of 1801 and advertised on January 16, 1802. The Concerto published by Mollo was that in C major. A letter written to Breitkopf and Härtel on the same day contains the equivalent of the remark: “I am for the present keeping the better ones for myself until I make a tour,” which is significant, since it makes it sure that other concertos were at least planned and that the one in C minor was looked upon as finished by Beethoven.
[97] In reality it was the second, as the Amenda parts show.
[98] Holz sold the Guarnerius violin in 1852 (see the “Allgemeine Deutsche Musikzeitung” of 1888). When the Beethoven Museum in Bonn was dedicated, the instruments were borrowed from the authorities of the Royal Library, and exhibited in a glass case, where they remain by sufferance of the Prussian authorities.
[99] See the dedication in Kalischer’s collection of Beethoven’s letters translated by J. S. Shedlock, Vol. I, p. 94.
[100] Beethoven’s carelessness in respect of dates, or a characteristic indifference to the almanac, as exemplified in this date-line, plays an important rôle in one of the most puzzling questions in his personal history, namely, the identity of the woman whom in the famous love-letters he called “The Immortal Beloved.”
[101] “L... O...”, according to Schindler as reported by Nohl, stands for “Leipsic Oxen,” the reference being to the critics of the “Allgemeine Musikalische Zeitung.”
[102] The Concerto in B-flat, Op. 19.
[103] The Concerto in C major, Op. 15.