[15] Nottebohm, “Skizzenbuch, etc., 1803,” p. 56, says “quartet.”
[16] Kreutzer came to Vienna with Bernadotte in 1789.
[17] “Orpheus,” 1841, p. 248.
[18] Allg. Mus. Zeit. XXIV, p. 320.
[19] But Ries says that Beethoven hired these lodgings besides those in the theatre.
[20] See, in the “Allg. Mus. Zeit.” III, a criticism of “Nelson’s Great Seabattle,” for pianoforte, violin and violoncello by Ferd. Kauer. Years afterward this piece may have been confounded with the Symphony in Dr. Bertolini’s memory. From Otto Jahn’s papers we learn that Dr. Bertolini told him that the first idea of the “Sinfonia eroica” was suggested to Beethoven by Bonaparte’s expedition to Egypt (May, 1798); and the rumor of Nelson’s death at the battle of Aboukir (June 22), at which Nelson was wounded in the head, was the cause of the funeral march. Czerny wrote: “According to Beethoven’s long-time friend, Dr. Bertolini, the first idea of the ‘Sinfonia eroica’ was suggested by the death of the English general Abercrombie; hence the naval (not land-military) character of the theme and the entire first movement.” Music of a naval character to celebrate the death of an army officer! Czerny seems to have been at least temporarily weak either in history or logic.
[21] Dr. Schmidt is of opinion that this anecdote was contributed to his journal by Hieronymus Payer, certainly good authority.
[22] “Full moon, July 22,” almanac of 1804.
[23] This honorarium was a share in the receipts.
[24] In the second (German) edition of Thayer’s “Life,” etc., Dr. Riemann amends this statement in the text as follows: These statements of Treitschke’s prove to be inaccurate, inasmuch as it has definitively been determined that Beethoven began work on “Leonore” before Paër’s opera had been produced in Dresden, i. e., October 3, 1804. This is proved by the discovery of sketches for the early numbers of the opera among sketches for the “Eroica” symphony, and is confirmed by Ries. The latter says: “When he composed ‘Leonore’ he had free lodgings for a year in the Wiedener Theatre; but as these opened on the courtyard they were not agreeable to him. He therefore hired, at the same time, quarters in the Rothes Haus on the Alserkaserne.” “Now,” Nottebohm continues, “Beethoven lived in the Theater-an-der-Wien in May, 1803, and later in the Rothes Haus in the spring of 1804.” Consequently he must have worked on the opera before the spring of 1804. Nottebohm assumes that between the abandonment of work on Schikaneder’s text and the beginning of work on “Leonore” there could not be more than a quarter of a year. It is very probable that Beethoven dropped work on Schikaneder’s text when the latter’s activity as director came to an end on February 11, 1804; but it does not follow that he may not already have approached the setting of Bouilly’s text, as translated into German by Sonnleithner, who now undertook the work of administration. At any rate it is an error to assert that the commission to compose the book was not offered to him until the fall of 1804. Indeed, the question is whether or not Beethoven’s occupancy of lodgings in the theatre was interrupted at all. It ought also to be borne in mind that in view of his relations with Baron von Braun and Sonnleithner, Beethoven may have known before the conclusion of the contract that Schikaneder’s direction was to be terminated—reasons enough for believing that there is nothing improbable in the theory that the composer began work on “Leonore” before the end of 1803.