[43] Quid licet Jovi non licet bovi; the maxim ought to be repeated every time this familiar story is told. Moreover, those who repeat Beethoven’s remark oftenest always omit a very significant word in it: “Und so erlaube ich sie!” i. e., “When used in the manner illustrated in the measure in question, I allow them.” Beethoven gave no general license.
[44] Seyfried’s memory has here in part played him false.
[45] Another slight mistake. Schindler was in possession of Beethoven’s glasses and they were by no means “very strong.”
[46] One of Beethoven’s puns, the point of which is lost in the translation: “Schönere Noten brächten mich schwerlich aus den Nöthen.”
[47] The genesis of the fourth symphony, in B-flat, Op. 60, is but imperfectly known. Nottebohm’s studies of the sketchbooks, which are so frequently helpful, fail us utterly here. The autograph score bears the inscription, “Sinfonia 4ta, 1806, L. v. Bthvn.” Having been played in March, 1807, at one of the two subscription concerts at Lobkowitz’s, it was, of course, finished at that time. Beethoven referred to it in his letter to Breitkopf and Härtel from Grätz on September 3, 1806. This is not convincing proof that it was all ready at the time, but certainly that it was well under way. On November 18 he wrote to the same firm that he could not then give them the promised symphony, because a gentleman of quality had purchased its use for six months. It is within the bounds of possibility that this reference was to the symphony in C minor, the sketches for which date back at least to 1805, though it was not completed till March, 1808, at the earliest. It would seem that work on the C minor symphony was laid aside in favor of the fourth, which was either written or sketched in the late summer and fall of 1806, and completed in Vienna in time for the performance in March, 1807.
The symphony is dedicated to Count Oppersdorff, a Silesian nobleman. The castle of the Counts Oppersdorff lies near the town of Ober-Glogau, which in early times was under their rule. Count Franz von Oppersdorff, who died in Berlin in 1818, was a zealous lover of music who maintained in his castle an orchestra which he strove to keep complete in point of numbers by requiring all the officials in his employ to be able to play upon an orchestral instrument. Partly through bonds of blood and marriage, partly through those of friendship, the family of Oppersdorff was related to many of the noble families of Austria—Lobkowitz, Lichnowsky, etc. The castle of Lichnowsky at Grätz, near Troppau, was scarcely a day’s journey from Ober-Glogau. Thus it happened that Prince Lichnowsky, in company with Beethoven, paid a visit to Count Oppersdorff at his castle, on which occasion the orchestra played the Second Symphony. This, as the evidence indicates, was in the fall of 1806.
[48] Dr. Riemann, who introduced this letter in the body of the text of this biography, preceded it with the following observations on the significance of the transaction between Beethoven and Clementi: “This business plays an extraordinarily important rôle in the next three years of Beethoven’s life (until the spring of 1810). The publication of its details has made portions of the account in the first edition of this work wholly untenable, since those portions were based on the assumption that the conclusion of the contract with Clementi had been followed also by the prompt payment of the honorarium (in 1807), whereas, as a matter of fact, the payment was delayed for three years, as has been plainly shown by the correspondence between Clementi and Collard. Clementi, it would seem, spent the eight years following 1802, when he went to St. Petersburg with Field, till 1810, entirely on the Continent (in St. Petersburg, Berlin, Leipsic, Rome) and sojourned several times in Vienna. We know from Ries’s account that he did not come into contact with Beethoven during his extended stay in 1804, but we also know that as early as the fall of 1804, he tried to secure the right of publishing Beethoven’s works in England.”
[49] This is given from Jahn’s copy, to which is appended the following note: “Titles of the 6 works with changed dedications: 3 quartets, the name Rasoumowsky changed in Beethoven’s handwriting to à son Altesse le Prince Charles de Lichnowsky. The name of Frau von Breuning stricken out of the dedication of the arrangement of the Concerto. The Pianoforte Concerto originally dedicated with a German title to Archduke Rudolph, then with a French title à son ami Gleichenstein.” None of these changes was made; the “six works” came out with the dedications originally intended.
[50] This letter (to which allusion has been made in the chapter devoted to Beethoven’s love-affairs) was first printed from the original owned by Count Géza von Brunswick in the “Blätter für Theater und Musik” (No. 34). If the date, “May 11, 1806,” was written by Beethoven and is not an error by a copyist, it provides another instance of the composer’s irresponsibility in dating his letters; for the reference to the contract with Clementi is irrefutable evidence that it was written in 1807. Beethoven’s remark about getting great without the help of a monument reared by Therese von Brunswick is evidently an allusion to the fact that the Countess erected a monument to her father in the grounds of the family-seat in Hungary, and might properly enough be cited, together with the commissioned kiss, as proof of the intimacy between the Brunswicks and Beethoven. Had there been talk of another family monument at Martonvásár? Beethoven’s remark might easily be thus interpreted. The sister whom he had asked to write about the quartets was doubtless Josephine, Countess von Deym. The sportive remark about Schuppanzigh’s marriage with one like him is explained by the fact that the violinist was of Falstaffian proportions.
[51] The Editor of the English edition feels it to be his duty to permit Thayer to reiterate his argument in favor of the year 1807, as that in which the love-letter was written, notwithstanding Dr. Riemann’s curt rejection of it in the German edition. The question is still an open one.