Notwithstanding that Prince Lobkowitz’s financial affairs had been satisfactorily ordered, his return to Vienna was delayed until the Spring of 1815, one reason being that (as he states in a letter to Archduke Rudolph, dated Prague, December 29, 1814) an opinion prevailed in the Austrian capital that his presence would be “unseemly.” In this letter he gives expression to his feelings toward Beethoven as follows:
Although I have reason to be anything but satisfied with the behavior of Beethoven toward me, I am nevertheless rejoiced, as a passionate lover of music, that his assuredly great works are beginning to be appreciated. I heard “Fidelio” here[146] and barring the book, I was extraordinarily pleased with the music, except the two finales, which I do not like very much. I think the music extremely effective and worthy of the man who composed it.
Is this not nobly said?
Consider these facts: Lobkowitz was now deprived of the control of his revenues; those revenues, in so far as they were based upon contracts, were subject to the Finanz-Patent of 1811; the curators of his estates were also bound by it; and the General Court (Landrecht) had no power arbitrarily to set it aside. What that tribunal could and did do was, by its assent and decree, to give binding force to such agreement between the parties in principal, as had obtained the sanction of the curators, with, probably, the consent of the principal creditors of the Prince. It follows then that the concession of Beethoven’s full demand of 700 fl. in notes of redemption could have been obtained only through the good will and active intervention of Lobkowitz himself, using his personal influence with the other parties concerned. Schindler incidentally confirms this.
Will the reader here pause a moment and think what impression the aspersions on Lobkowitz’s character in Beethoven’s letters have left upon his mind? Have they not begotten a prejudice so strengthened by “damnable iteration” that it is now hardly possible to overcome it, and believe it unfounded? Lobkowitz, young, generous to prodigality, rendered careless by the very magnitude of his possessions, had, in the lapse of some twenty years, so squandered his enormous resources, as to fall into temporary embarrassments, which threw the responsibility of meeting his pecuniary engagements upon others, who were bound by the nature of their office to pay none but strictly legal claims. Thus Beethoven became a loser in part of what was originally no debt, but a gift—or rather would have been so, but for the interference of Lobkowitz.
We have here another warning of the great caution to be exercised when using private correspondence for purposes of biography. In writing of Beethoven this is especially necessary, because so large a proportion of it consists of confidential notes and communications containing the ebullitions of splenetic moments, and not seldom hasty charges and mistaken accusations, such as he gladly withdrew on learning the truth. To accept all this without question is preposterous; to use it as authentic historic matter without scrupulous examination, is to do great injustice to the dead.
The proof is ample, that Beethoven was already fully convinced of the entire innocence of both Prince Kinsky and Prince Lobkowitz of all desire to escape any really just demands upon them: yet, probably, until the greater part of our present Beethoven literature has sunk into oblivion, the memory of those noble and generous personages will be made to suffer on the authority of Beethoven’s hasty expressions.
A letter written in English, probably by his friend Häring, who had been much in England, and signed by Beethoven, marks the progress of his business with Thomson:
Address.
Mr. George Thomson, merchant in the musical line.