If it be considered that poor Mozart lost his beloved father on May 28, 1787, and that his mind was then fully occupied with his new operatic subject, “Don Giovanni,” it will not be thought strange that he did not exhibit his powers as a pianist to a youth just beginning with him a course of study in composition, especially as the pupil, in his eyes, was a little, undersized boy of 14—as there is every reason to believe. That pupil’s power of handling a theme, since Mozart probably knew nothing of his five years’ practice at the organ and in the theatre, may well have surprised him; but in execution as a pianist he probably stood far, far below the master when at the same age, below the little Hummel (at that very time an inmate of Mozart’s family), and certainly below Cesarius Scheidl (forgotten name!) aged ten, who had played a pianoforte concerto between the parts of an oratorio no longer ago than the preceding 22nd of December in the grand concert of the “Society of Musicians.” Had not Beethoven’s visit been so abruptly, unexpectedly and sorrowfully brought to an end, he would, doubtless, have had nothing to regret on the score of his master’s playing.
In some written talks to Beethoven in the years of his deafness, still preserved, are found two allusions at least made by his nephew to this personal acquaintance with Mozart. In the first case the words are these: “You knew Mozart; where did you see him?” In the other, two or three years later: “Was Mozart a good pianoforte player? It was then still in its infancy.” Of course Beethoven’s replies are wanting; and herewith is exhausted all that, during the researches for this work, has been found relating to his first visit in Vienna. The Vienna newspapers of the time contained notices of the “wonder-children” Hummel and Scheidl, but none whatever of Beethoven.
Acquaintances in Augsburg
That the youth in passing through Augsburg must have become acquainted with the pianoforte-maker Stein and his family is self-evident. There is something in a conversation-book which seems to prove this, and also to add evidence to the falsification of his age. It is this: in the spring of 1824 Andreas Streicher and his wife—the same Stein’s “Mädl”—whose appearance at the pianoforte when a child of eight and a half years is so piquantly described by Mozart, called upon Beethoven on their way from Vienna into the country. A few sentences of the conversation, written in the hand of the composer’s nephew, are preserved. The topic for a time is the packing of movables and Beethoven’s removal into country lodgings for the summer; and at length they come upon the instruments manufactured by Streicher; after which Carl writes: “Frau von Streicher says that she is delighted that at 14 years of age you saw the instruments made by her father and now see those of her son.” True, it may be said that this refers to Beethoven’s knowledge of the Stein “Hammerclaviere” then in Bonn; but to any one thoroughly conversant with the subject these words are, like Iago’s “trifles light as air,” confirmation strong of the other view. His introduction to the family of the advocate Dr. Schaden in Augsburg, is certain. Reichardt was in that city in 1790 and wrote of Frau Nanette von Schaden as being of all the women he knew, those of Paris not excepted, far and away the greatest pianoforte player, not excelled perhaps, by any virtuoso in skill and certainty; also a singer with much expression and excellent declamation—“in every respect an amiable and interesting woman.” The earliest discovered letter of Beethoven to Schaden, and dated Bonn, September 15, 1787, proves the friendship of the Schadens for him and fully explains the causes of his sudden departure from Vienna and the abrupt termination of his studies with Mozart.
I can easily imagine what you must think of me, and I can not deny that you have good grounds for an unfavorable opinion. I shall not, however, attempt to justify myself, until I have explained to you the reasons why I hope my apologies will be accepted. I must tell you that from the time I left Augsburg my cheerfulness as well as my health began to decline; the nearer I came to my native city the more frequent were the letters from my father urging me to travel with all possible speed, as my mother was not in a favorable state of health. I therefore hurried forward as fast as I could, although myself far from well. My longing once more to see my dying mother overcame every obstacle and assisted me in surmounting the greatest difficulties. I found my mother still alive but in the most deplorable state; her disease was consumption, and about seven weeks ago, after much pain and suffering, she died. She was such a kind, loving mother to me, and my best friend. Ah, who was happier than I when I could still utter the sweet name, mother, and it was heard? And to whom can I now speak it? Only to the silent image resembling her evoked by the power of the imagination. I have passed very few pleasant hours since my arrival here, having during the whole time been suffering from asthma, which may, I fear, eventually develop into consumption; to this is added melancholy—almost as great an evil as my malady itself. Imagine yourself in my place, and then I shall hope to receive your forgiveness for my long silence. You showed me extreme kindness and friendship by lending me three Carolins in Augsburg, but I must entreat your indulgence for a time. My journey cost me a great deal, and I have not the smallest hopes of earning anything here. Fate is not propitious to me in Bonn.
Pardon my detaining you so long with my chatter; it was necessary for my justification.
I do entreat you not to deprive me of your valuable friendship; nothing do I wish so much as in some degree to become worthy of your regard.
I am, with the highest respect
Your most obedient servant and friend,
L. v. Beethoven,
Court Organist to the Elector of Cologne.[36]