[62] Some of the information for which Thayer hoped was supplied by his translator, Dr. Deiters, and has been printed as a foot-note in the preceding chapter. Something more appears from several documents which have come to light since Mr. Thayer wrote, but, it must be confessed, it seems more bewildering than illuminative. One of these is a letter which was published in the “Signale” of Leipsic in September, 1880. It is without date, but an allusion to the felon with which Beethoven was afflicted fixes the time of its writing about March, 1808. The significant part of the letter is as follows: “To-day I have little time to write more to you, I only want to inform you that your symphony has long been ready and I will send it to you by the next post—you may retain 50 florins, for the copying, which I will have done for you, will cost that sum at least—in case you do not want the symphony, however, let me know the fact before the next post—in case you accept it, rejoice me as soon as possible with the 300 florins still due me—The last piece in the symphony is with 3 trombones and flautino—not with 3 kettledrums, but will make more noise than 6 kettledrums and, indeed, better noise—I am still under treatment for my poor innocent finger and because of it have not been able to go out for a fortnight—farewell—let me hear something from you soon, dear Count—it goes ill with me.” The document which Dr. Riemann says “obviously” accompanied this letter (though we cannot see why) runs as follows: “Receipt for 500 florins from Count Oppersdorff for a Sinfonie which I have written for him.” This is dated “1807 on the 3rd of February.” There is another receipt for 150 florins dated March 29, 1808, but nothing to show what the money was paid for except a memorandum accompanying it which seems to be partly in the handwriting of Beethoven, partly in that of Oppersdorff, and states that 200 florins had been paid in June, 1807, for the “5 Sinfoni” (the numeral is vague), but that the symphony had not been received. The reference to the trombones in the finale of the symphony proves that it was the fifth that was in question.
On November 1, 1808, Beethoven writes the letter printed above in the body of the text. Why Dr. Riemann should have thought it necessary to consider the first letter of contemporaneous date with the first receipt is not plain, nor why he should surmise that Beethoven had enclosed the receipt in the letter before he received the money which was not paid at the time. To this Editor it seems as if the confused tangle might be explained in part, at least, as follows, though the explanation leaves Beethoven under a suspicion which cannot be dispelled until more is learned of the dealings between him and Count Oppersdorff: On the occasion of Beethoven’s visit to Count Oppersdorff in company with Lichnowsky in the summer or fall of 1806, the Count commissioned the composer to write a symphony for him; Beethoven had begun work on the Fifth Symphony, but laid it aside and during the remainder of his stay at Grätz and in the winter of 1807 wrote the Symphony in B-flat which is dedicated to Count Oppersdorff; for this he received 500 florins on February 3, 1807; he did not send the Count the score, as was the custom, for exclusive use during a fixed period, but turned it over to Lobkowitz for performance, being in urgent need of money; a year later he substituted the Fifth for the Fourth and accepted from Count Oppersdorff 150 florins in March and 200 in June for it without delivering it, this sum being, it may be presumed, a bonus for the larger work, the Count apparently having asked for something employing an unusual apparatus (hence the “3 kettledrums”); this symphony was also withheld in the end, for reasons which are not known, and Oppersdorff had to content himself with the mere dedication of the Symphony in B-flat originally designed for him.
Dr. Riemann’s comment on the transactions is this: “The letter of November 1, 1808, proves conclusively that Count Oppersdorff could not have received either the C minor or the B-flat Symphony for his use for the customary half year; for the B-flat Symphony was performed by Lobkowitz in March, 1807; it was sold to Clementi and also to the Industriecomptoir in the summer, delivered for publication at the latest in the fall of 1807 when Beethoven had to return the 1500 florins to his brother Johann. The C minor Symphony was performed at the concert in the Theater-an-der-Wien on December 22, 1808, offered to Breitkopf and Härtel as early as June, 1808, sold on September 14, 1808, and published in April, 1809. To all appearances, Count Oppersdorff was compelled to look upon the 350 florins as remuneration for the mere dedication of the Symphony in B-flat which was published by the Industriecomptoir in March, 1808 (score not until 1821 by Simrock). The name of Count Oppersdorff does not appear again in the life-history of Beethoven.”
[63] Czerny did not know that Beethoven had formed the idea of this work full eight years before. See notice on the Petter sketchbook ante, Chapter II.
[64] The agreement between this memorial and the letters written on the subject (apparently to Gleichenstein—though Thayer was not willing to commit himself on this point) make it most probable that he was the author of the document. Even the sentimental suggestion that the contributors might look upon themselves as co-authors of the great works to come, went out from Beethoven in one of the notes probably sent to Gleichenstein.
[65] On this letter Dr. Riemann comments as follows: “This letter proves conclusively that in the spring of 1809, Beethoven was not yet thinking of a union with Therese Malfatti and that all letters to Gleichenstein containing hints of that nature are of later date. But it may safely be assumed that the settlement of a fixed income upon him together with the receipts from his compositions set Beethoven seriously to thinking of marriage. Although Dr. Malfatti, uncle of the sisters Therese and Anna, had been Beethoven’s house physician since the death of Dr. Schmidt (February 13, 1808), it was not until some time in the course of the year 1809, that Beethoven’s inclination towards Therese gradually developed until it led to a formal proposal of marriage in the spring of 1810.”
[66] “One of these sisters,” writes Thayer, “was sent to him (in 1807-8?), she then being but some twelve years of age. He gave her a good education, and brought her out as a singer, when Hummel fell in love with her, married her and withdrew her from the stage. I asked Röckel if she could by any possibility have been the person with whom Beethoven in 1809-10 had a marriage project? He proved to me that she was not. So that story is put at rest.”
[67] The letter is incorrectly dated “1811” in the Kalischer Collection.
[68] If the estrangement between Beethoven and his brother was of earlier date than this, it would appear as if the siege of Vienna had brought them together again.
[69] In view of the many indications, especially in the letters to Breitkopf and Härtel, that Beethoven did not work with any continuity from the beginning of May to the end of July, this memorandum assumes a different aspect and might serve to prove that the resumption of work on the first movement of the E-flat Concerto was not made till June or July, and that the entire Meinert sketchbook belongs to the period from July to October.