Errors—errors—you yourselves are one large error—here I must send my copyist, there I must go myself if I wish that my works shall not appear—as a mere error—it appears as if the musical tribunal at L. was unable to produce a single decent proof-reader, besides which you send out the works before you receive the corrections—at least in the case of larger works with various parts you might count the measures—but the Fantasia shows how this is done—look in the overture to Egmont, where a whole measure is missing.
—Here the list of errors ( ).... Make as many errors as you please, permit as many errors as you please—you are still highly esteemed by me, it is the custom of men that we esteem them because they have not made still greater errors.
About this time Gottfried Chr. Härtel’s wife died, and on May 20th Beethoven wrote to him a letter of condolence in which he said: “It appears to me that in view of such a separation which confronts nearly every husband one ought to be dissuaded from entering this state.” To a suggestion made by his publishers he replies: “What you say about an opera would surely be desirable, the directors, too, would pay well for one, the conditions are just now unfavorable, it is true, but if you will write me what the poet demands I will make inquiry concerning the matter; I have written to Paris for books, successful melodramas, comedies, etc. (for I do not dare to write an original opera with any of our local poets), which I shall then have adapted—O, poverty of intellect—and pocket!”
Music for “The Ruins of Athens”
The new theatre at Pesth was so far advanced in 1810, that the authorities began their preliminary arrangements for its formal opening on the Emperor’s name-day, October 4th, 1811, by applying to Heinrich von Collin to write an appropriate drama, on some subject drawn from Hungarian history, for the occasion. “The piece was to be associated with a lyrical prologue and a musical epilogue.” “The fear that he could not complete the work within the prescribed time and that his labors would be disturbed, compelled Collin to decline the commission with thanks.” The order was then given to Kotzebue, who accepted it and, with characteristic rapidity, responded with the prologue “Ungarn’s erster Wohltäter” (Hungary’s first Benefactor), the drama “Bela’s Flucht” (Bela’s Flight), and the epilogue “Die Ruinen von Athen” (The Ruins of Athens). As Emperor Franz had twice fled from his capital within five years, it is not surprising that “‘Bela’s Flight’ for various reasons cannot be given” and gave place to a local piece (“The Elevation of Pesth into a Royal Free City”). Kotzebue’s other two pieces were accepted and sent to Beethoven in May of this year. The composition of the music to them was the engagement above mentioned, and, of course, formed his principal employment during the summer.
Hartl had now retired from the direction of the Court Theatres, and Lobkowitz and Palffy were again at the helms respectively of the theatre next to the Kärnthnerthor and that An-der-Wien. Beethoven was busy with dramatic compositions and so, very naturally, the project of another operatic work was revived. He had also obtained a subject that pleased him—a French melodrama. “Les Ruines de Babylon”—probably from the Prussian Baron Friedr. Joh. Drieberg. This composer, much more favorably known for his researches into ancient Greek music than for his operas, had been five years in Paris, “where he studied composition under Spontini and probably for a short time also under Cherubini,” and now for two years in Vienna.
A series of notes from Beethoven to Drieberg, Treitschke and Count Palffy, written in June and July, 1811, show how the operatic project was shaping itself in his mind. On June 6, he is anxious to know if Treitschke has read the book, and wishes to re-read it himself before beginning work on it; to the same on July 13, he writes that he has now received the translation of the melodrama with directions from Palffy to discuss it with him. He expresses dismay to Palffy on July 11, because he has heard that a benefit performance of the melodrama “Les ruines de Babilone” is projected, sets forth how hard he had worked to find a suitable libretto, as he had in this, and how much more desirable it would be to have it given as an opera; and finally hopes that Palffy will forbid the intended performance.
“It is said,” writes the correspondent of the “Allg. Mus. Zeit.” under date January 8, “that Beethoven may next Spring undertake a journey to Italy for the purpose of restoring his health, which has suffered severely during the last few years.” One effect of his maladies was to produce long-continued pains in the head, and it was finally thought best by his physician, Malfatti, to abandon the journey and try the waters of Teplitz. This Beethoven decided to do and to take with him as friend and companion young Oliva. In a letter to Count Brunswick he thanks him for agreeing to make the journey with him, and tells him that on the advice of his physician he must spend two whole months at Teplitz until the middle of August, wherefore he could not accompany the Count. He adds: “I pray you so to arrange your affairs as to be here [i. e., Vienna] at the latest by July 2 or 3, as otherwise it will be too late for me, and the doctor is already grumbling that I am waiting so long, although he himself says that the companionship of such a dear good friend would benefit me.” In another letter he says: “I cannot accept your refusal; I have permitted Oliva to go away alone, and on your account; I must have some trusted one at my side if everyday life is not to become burdensome.... As I do not know how you came to have the portrait[84] it would be best if you were to bring it with you, no doubt a sympathetic artist will be found who will copy it for friendship’s sake.”
Work on Thomson’s Commission