The Life of Ludwig van Beethoven, Volume II

by Alexander Wheelock Thayer

We have not written very lucidly, if it be not sufficiently clear that, at Vienna, the works of no other of the younger generation of composers had so ready and extensive a sale as Beethoven’s, notwithstanding their most attractive qualities to many, were repellent to others. That was a question of taste. But in these last weeks of 1804, a proof of their general popularity was in preparation by Schreyvogel and Rizzi, which, so far as the present writer has examined the German periodical press from 1790 to 1830, is without a parallel. It was a complete classified catalogue of the “Works of Herrn Ludwig van Beethoven,” published as an advertisement, January 30, 1805, in the “Wiener Zeitung,” announcing them as “to be had at the Kunst- und Industrie-Comptoir at Vienna in the Kohlmarkt, No. 269.”

At the end of 1796—a few sets of Variations excepted—only the first three of Beethoven’s opera had appeared. Four years afterwards the first publishing houses of Leipsic contend with those of Vienna for his manuscripts, notwithstanding the worse than contemptuous treatment of his works by the newly founded musical journal.

In January, 1801, at Breslau “the pianoforte players gladly venture upon Beethoven and spare neither time nor pains to conquer his difficulties.” In June, Beethoven has “more commissions, almost, than it was possible to fill” from the publishers—he “demands and they pay.” In 1802, Nägeli of Zürich, passing all the older composers by, applies to him for sonatas with which to introduce to the public his costly enterprise of the “Répertoire des Clavecinistes.” In 1803, although Simrock, of Bonn, had a branch house at Paris, and printed editions of his townsman’s more important works for circulation in France, Zulehner of Mayence finds the demand for them sufficient to warrant the announcement of a complete and uniform edition of the “Works for Pianoforte and String Instruments.” In May of the same year the “Correspondence des Amateurs-Musiciens” informs us that at Paris a part of the pianoforte virtuosos play only Haydn, Mozart and Beethoven, and spite of the difficulties offered by their works there are “quelquefois des Amateurs qui croient les jouer”; and, soon after this, an application comes to Beethoven from distant Scotland for half a dozen sonatas, on Scotch themes.[27]

The first two Concertos for Pianoforte and Orchestra, published in 1801, are reported to have been played in public within two years at Berlin and Frankfort-on-the-Main; the third, advertised in November, 1804, was produced the next month at Berlin. The first Symphony had hardly left Hoffmeister’s press, when it was added to the repertory of the Gewandhaus Concert, at Leipsic, and during the three following years was repeatedly performed at Berlin, Breslau, Frankfort-on-the-Main, Dresden, Brunswick and Munich; the second, advertised in March, 1804, was the opening symphony of Schick and Bohrer’s (Berlin) concerts in the Autumn. The “Prometheus” overture was played in the same concerts, December 2, 1803—ten days earlier than the oldest discovered advertisement of its publication. The instant popularity of the Septet in all its forms is well known.

A public performance of the Horn Sonata, March 20, 1803, at the concert of Dulon, the blind flute player, is worth noting, because the pianist was “young Bär”—Meyerbeer.

In our day and generation, to offer so meagre a list of public productions as a proof of popularity in the case of a new author of orchestral works, would be ridiculous. In the multiplication of musical journals and the greatly extended interest taken in musical news wherever an orchestra exists equal to the performance of a symphony, there is also someone to report its doings. This is as it should be. Then, except in the larger capitals, this was rarely so. Hence the few notes above, compiled from the correspondence of the single musical journal of the time, are more than suggestive—they are proof—of many an unrecorded production of the works they name. But more noteworthy than the statistics given by the various correspondents, is this: that, whatever praises they bestow upon the concertos and symphonies of others, they rank Beethoven alone with Haydn and Mozart; and this they do, even before the publication of the third Concerto and the Second Symphony.

Beethoven, then, though almost unknown personally beyond the limits of a few Austrian cities—unaided by apostles to preach his gospel, owing nothing to journalist or pamphleteer, disdaining, in fact, all the arts by which dazzling but mediocre talent pushes itself into notoriety—had, in the short space of eight years, by simple force of his genius as manifested in his published works, placed himself at the head of all writers for the pianoforte, and in public estimation risen to the level of the two greatest of orchestral composers. The unknown student that entered Vienna in 1792, is now in 1804 a recognized member of the great triumvirate, to whose names in 1870, in spite of all the polemics of preachers of a new gospel, the world still persists in giving the place of highest honor in the roll of instrumental composers. Then, as now—now, as then—they are Haydn, Mozart and Beethoven.

The lists of the ascertained compositions and publications for the year 1804 are surprisingly short; but as no really sufficient reason for the fact can be given, none shall be attempted.[28] The former are only the two Sonatas, Op. 53 and Op. 54, and the “Andante favori”; but the final revision of the “Sinfonia Eroica” probably was made at the beginning of the year.