[143] That Beethoven transcribed the march in the Sonata, Op. 26, for orchestra is confirmed by the following letter of Chapelmaster Ad. Müller (père) written to the author in answer to a note of inquiry:
“Highly respected Sir!
“To your valued letter I have to make reply as follows: I certainly have in my autograph collection the autograph of the orchestral score of the funeral march contained in the great Sonata for Pianoforte, Op. 26: The score consists of six sheets and twelve pages—written throughout in Beethoven’s hand. On the 1st, 8th and 12th pages there are marginal notes for the copyist.
“The piece is orchestrated for 2 flutes, 2 clarinets in C, 2 horns in D, 2 horns in E, to which are added four staves for instruments which are not named, probably for trumpets and trombones. [To judge by the setting rather for the string quartet.]
“I received this score of the celebrated master from the art and music dealer Tobias Haslinger in the year 1829-30 with the remark, here faithfully reported, that he gave me the manuscript with pleasure as a souvenir, inasmuch as he would by no means print or publish the composition in this form. This score therefore is unique! The piece is in B minor....
“Your ever ready
“Adolph Müller.”
Together with the other music to “Leonore Prohaska” the march is printed in the Complete Edition of Breitkopf and Härtel, Series 25, No. 272.
[144] The circumstances connected with the last postponement of this concert and the onerous conditions which Count Palffy sought to impose upon Beethoven are interestingly told by Dr. Frimmel in his “Beethoven-Studien, Vol. II,” p. 41 et seq.
[145] In Jahn’s notices these sums are doubled. This audience is doubtless the one referred to by Schindler, as being proposed by the Empress, or perhaps was a consequence of that one.
[146] “Fidelio” had its first performance in Prague on November 21, 1814. Liebich was the director of the theatre, and C. M. von Weber chapelmaster.