The matter was so arranged with Fuss as to leave the text in Beethoven’s hands; but how, and on what terms, is not known.
A Polonaise for the Empress of Russia
Among the sketches to “Der glorreiche Augenblick” appears the theme of the Polonaise for Pianoforte, Op. 89, the story of which is as follows: In a conversation with Beethoven one day, in the time of the Congress, Bertolini suggested to him that, as polonaises were then so much in vogue, he should compose one and dedicate it to the Empress of Russia; for, perhaps, thereby he might also obtain some acknowledgment from Emperor Alexander for the dedication to him of the Violin Sonatas, Op. 30,—for none had ever been made. As usual, Beethoven at first scorned dictation, but at length thought better of the proposal, sat down to the pianoforte, improvised various themes and requested Bertolini to choose one; which he did. When it was completed, they waited upon Walkonski, to seek through him permission to make the proposed dedication, which was granted. At the appointed time Beethoven was admitted to an audience with the Empress and presented the Polonaise, for which he received a present of 50 ducats. On this occasion he was asked, if he had ever received anything from the Czar? As he had not, a hundred ducats was added for the Sonatas.[145]
It was about this time (precisely when the painter could not remember when speaking of it in 1861), that Beethoven sat again to his friend Mähler, who wished to add his portrait to his gallery of musicians. This was the picture which, after the death of the artist, was purchased by Prof. Karajan. Another portrait of Beethoven was painted by Mähler for Gleichenstein. On the 25th of January, a grand festival took place in the Burg on the occasion of the Russian Empress’s birthday, which in part consisted of a concert in the Rittersaal. The last piece on the programme was the canon in “Fidelio”: “Mir ist so wunderbar,” and by a whimsical stroke of fortune Beethoven himself appeared, and, to the audience of emperors and empresses, kings and queens, with their ministers and retinues, played for the last time in public! Wild, who dates the concert a month too soon, gives an account of it in which, after telling of his own success with “Adelaide,” he says:
It would be as untruthful as absurd were I to deny that my vanity was flattered by the distinction which the gathered celebrities bestowed upon me; but this performance of “Adelaide” had one result which was infinitely more gratifying to my artistic nature; it was the cause of my coming into closer contact with the greatest musical genius of all time, Beethoven. The master, rejoiced at my choice of his song, hunted me up and offered to accompany me. Satisfied with my singing he told me that he would orchestrate the song. He did not do this, but wrote for me the cantata “An die Hoffnung” (words by Tiedge) with pianoforte accompaniment, which, he playing for me, I sang at a matinée before a select audience.
By far the most important event in Beethoven’s history during these months, was the final settlement, by compromise, of the annuity affair with the Kinsky heirs, on the 18th of January. So soon as the legal formalities could be ended and communicated to Beethoven, he issued in autograph a power of attorney to Baron Josef von Pasqualati in Prague to collect the money due, and act for him in all things necessary. On March 26th, Pasqualati acknowledged the receipt of 2479 florins W. W. as payment on the annuity in full up to the end of March, 1815. In this instance “W. W.” (Wiener Währung) meant notes of redemption, since the bank-notes had been retired from circulation in 1812. The compromise decree arrived at through the ministration of Dr. Kanka fixed the original annuity of 1800 florins at 1200 florins, beginning on November 3d, 1812. There was therefore due to Beethoven, for from November 3d to the end of March, 1815, 2890 florins, from which was deducted 411 florins, as the equivalent of the 60 ducats paid to Beethoven by Prince Kinsky in October, 1812, leaving 2479 florins as aforesaid. The decision in the case with Lobkowitz also soon followed. According to the judgment of the Court, entered on April 19, 1815, the future annual payments were fixed at 700 florins (the equivalent of 280 fl. conventional coin, silver), and the 2508 fl. arrears were ordered paid in notes of redemption within two months. Payments were made accordingly and (as Dr. v. Köchel reported in a private note to the author), from 1811 up to his death, Beethoven received on the annuity contract the following sums every year:
| From Archduke Rudolph | 1500 fl. |
| From Prince Kinsky | 1200 |
| From Prince Lobkowitz | 700 |
| Total | 3400 fl. |
This sum, 3400 fl. in notes of redemption, was the equivalent of 1360 fl. Con. M., silver, or 952 Prussian thalers.
Lobkowitz’s Generous and Honorable Conduct