A very interesting series of letters to Varena, and one very creditable to Beethoven, began at the end of January this year and ended, so far as is known, in 1815. Could the space be spared they would all be printed here; but they may be read in the published collections of Beethoven’s letters.
The arrangements of the Irish and Scottish songs for Thomson were continued in this year. A French letter to Thomson under date February 29, 1812, chiefly devoted to business matters, yet contains some expressions which are characteristic of Beethoven’s views and predilections.
Haydn himself assured me, that he also got 4 ducats in gold for each song, yet he wrote only for violin and pianoforte without ritornellos or violoncello.[93] As regards Herr Koželuch, who delivers each song to you for 2 ducats, I congratulate you and the English and Scotch publishers on a taste which approves him. In this field I esteem myself a little higher than Herr Koželuch (Miserabilis), and I hope and believe that you have sufficient discrimination to do me justice.
Thoughts of a Visit to England
He repeats his request that the texts be sent with the Scottish songs, asks if violin and violoncello are to be treated obbligato or if the pianoforte might compose an ensemble in itself, and closes, after having again demanded 9 ducats in gold, with: “we need the gold here, for our country is at present only a paper fountain, and I in particular, for I shall probably leave this country and go to England and then to Edinburgh in Scotland, and rejoice in the prospect of there making your personal acquaintance.”
The letter to Brunswick which follows, has been printed with the date 1809; but in that year Beethoven was not in the Pasqualati house; he was then on the most cordial terms with Oliva (barring the disagreement at Teplitz in 1811); and his satisfaction with the “honorable decree”—the annuity contract—which retained him in Vienna, was at the flood. The date, 1812, renders every point in the letter, except who is meant by “R,” perfectly intelligible.[94] “T” is the manuscript Trio, Op. 97; “S,” the printed sonata, “Les Adieux, etc.,” Op. 81a; “the quartet” is Op. 95, also in manuscript; “nothing decisive” refers to the non-receipt of the desired written instructions from Kinsky and Lobkowitz to their cashiers respecting the notes of redemption, and the “unhappy war” was that movement by Napoleon which proved to be the fatal invasion of Russia.
The letter reads:
Dear friend! Brother!
I ought to have written you earlier; I did so 1000 times in my heart. You ought to have received the T. and S. much earlier; I cannot understand how R. could have detained these so long from you. To the best of my recollection I told you that I would send both sonata and trio, do as you feel inclined, keep the sonata or send it to Forray[95] as you please, the quartet was designed for you long ago, my disorderliness alone is to blame that you receive it only now. And speaking of disorder I am unfortunately compelled to tell you that it still persecutes me on every hand, nothing decisive has been done in my affairs; the unhappy war may delay the final settlement still more or make the matter worse. At one time I resolve upon one thing, at another time upon a different one, unfortunately I must remain in the neighborhood until the matter is settled. O unhappy decree, seductive as a siren, against which I should have stopped my ears with wax and had myself bound so that I could not sign, like Ulysses. If the billows of war roll nearer here I shall come to Hungary; perhaps in any event, if I must care for my miserable self I shall no doubt beat my way through—away, nobler, loftier plans! Infinite are our strivings, the vulgar puts an end to all!
Farewell dear brother, be such to me, I have no one to whom I can give the name, do as much good around you as the evil times will permit.