Contents of Volume II
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| Chapter I. The Year 1803—Cherubini’s Operas in Vienna and Rivalry between Schikaneder and the Imperial Theatres—Beethoven’s Engagement at the Theater-an-der-Wien—“Christus am Ölberg” again—Bridgetower and the “Kreutzer” Sonata—Career of the Violinist—Negotiations with Thomson for the Scottish Songs—New Friends—Willibrord Mähler’s Portrait of Beethoven—Compositions of the Year—A Pianoforte from Erard | [1] |
| Chapter II. The Year 1804—Schikaneder Sells His Theatre and is then Dismissed from the Management—Beethoven’s Contract Ended and Renewed by Baron Braun—The “Sinfonia Eroica”—Prince Louis Ferdinand of Prussia—Quarrel between Beethoven and von Breuning—The “Waldstein” Sonata—Sonnleithner, Treitschke and Gaveaux—Paër and His Opera “Leonora”—“Fidelio” Begun—Beethoven’s Growing Popularity—Publications of the Year | [22] |
| Chapter III. The Year 1805—Schuppanzigh’s First Quartet Concerts—First Public Performance of the “Eroica”—Pleyel—The Opera “Leonore,” or “Fidelio”; Jahn’s Study of the Sketchbook—The Singers and the Production—Vienna Abandoned by the Aristocracy as French Advance—Röckel’s Story of the Revision of the Opera—Compositions and Publications of the Year | [41] |
| Chapter IV. The Year 1806—Repetitions of “Fidelio”: A Revision of the Book by von Breuning—Changes in the Opera—The “Leonore” Overtures—A Second Failure—Beethoven Withdraws the Opera from the Theatre—Marriage of Karl Kaspar van Beethoven—A Journey to Silesia—Beethoven Leaves Prince Lichnowsky’s Country-seat in Anger—George Thomson and His Scottish Songs—Compositions and Publications of the Year—The “Appassionata” Sonata and Rasoumowsky Quartets—Reception of the Quartets in Russia and England—The Concerto for Violin | [57] |
| Chapter V. Beethoven’s Friends and Patrons in the First Lustrum of the Nineteenth Century—Archduke Rudolph, an Imperial Pupil—Count Andreas Rasoumowsky—Countess Erdödy—Baroness Ertmann—Marie Bigot—Therese Malfatti—Nanette Streicher—Doctor Zizius—Anecdotes | [78] |
| Chapter VI. Princes and Counts as Theatrical Directors: Beethoven Appeals for an Appointment—Vain Expectations—Subscription Concerts at Prince Lobkowitz’s—The Symphony in B-flat—Overture to “Coriolan”—Contract with Clementi—Errors in the Dates of Important Letters—The Mass in C—A Falling-out with Hummel—The “Leonore” Overtures again—Performances of Beethoven’s Works at the “Liebhaber” Concerts—The Year 1807 | [98] |
| Chapter VII. The Year 1808—Johann van Beethoven Collects a Debt and Buys an Apothecary Shop in Linz—Wilhelm Rust—Plans for New Operas—Sketches for “Macbeth”—Imitative Music and the “Pastoral” Symphony—Count Oppersdorff and the Fourth Symphony—A Call to Cassel—Organization of Rasoumowsky’s Quartet—Appreciation of Beethoven in Vienna: Disagreement with Orchestral Musicians—Mishaps at the Performance of the Choral Fantasia | [114] |
| Chapter VIII. Jerome Bonaparte’s Invitation—A New Plan to Keep Beethoven in Vienna—The Annuity Contract—Ries’s Disappointment—Farewell to Archduke Rudolph in a Sonata—The Siege and Capitulation of Vienna—Seyfried’s “Studies”—Reissig’s Songs—An Abandoned Concert—Commission for Music to “Egmont”—Increased Cost of Living in Vienna—Dilatory Debtors—Products of 1809 | [135] |
| Chapter IX. The Years 1807-09: a Retrospect—Beethoven’s Intellectual Development and Attainments: Growth after Emancipation from Domestic Cares—His Natural Disposition—Eager in Self-Instruction—Interest in Oriental Studies—His Religious Beliefs—Attitude towards the Church | [163] |
| Chapter X. The Year 1810—Disappointing Decrease in Productivity—The Music for “Egmont”—Money from Clementi, and a Marriage Project—A New Infatuation Prompts Attention to Dress—Therese Malfatti—Beethoven’s Relations with Bettina von Arnim—Her Correspondence with Goethe—A Question of Authenticity Discussed—Beethoven’s Letter to Bettina—An Active Year with the Publishers | [170] |
| Chapter XI. The Year 1811—Bettina von Arnim—The Letters between Beethoven and Goethe—The Great Trio in B-flat—Music for a New Theatre in Pesth: “The Ruins of Athens” and “King Stephen”—Compositions and Publications of the Year | [196] |
| Chapter XII. The Year 1812—Reduction of Income from the Annuity—The Austrian “Finanzpatent”—Legal Obligation of the Signers to the Agreement—First Performance of the Pianoforte Concerto in E-flat—A Second Visit to Teplitz—Beethoven and Goethe—Amalie Sebald—Beethoven in Linz—He Drives His Brother Johann into a Detested Marriage—Rode and the Sonata Op. 96—Spohr—The Seventh and Eighth Symphonies—Mälzel and His Metronome—A Canon and the Allegretto of the Eighth Symphony | [211] |
| Chapter XIII. The Year 1813—Beethoven’s Journal—Illness of Karl Kaspar van Beethoven—He Requests the Appointment of His Brother as Guardian of His Son—Death of Prince Kinsky—Obligations under the Annuity Agreement—Beethoven’s Earnings—Mälzel and “Wellington’s Victory”—Battle Pieces and Their Popularity—Postponement of the Projected Visit to London—The Seventh Symphony—Spohr on Beethoven’s Conducting—Concerts, Compositions and Publications of the Year | [239] |
| Chapter XIV. The Year 1814—Success of “Wellington’s Victory”—Umlauf Rescues a Performance—Revival and Revision of “Fidelio”—Changes Made in the Opera—Success Attained—The Eighth Symphony—Beethoven Plays in the Great Trio in B-flat—Anton Schindler Appears on the Scene—The Quarrel with Mälzel—Legal Controversy and Compromise—Moscheles and the Pianoforte Score of “Fidelio”—The Vienna Congress—Tribute from a Scottish Poet—Weissenbach—Tomaschek—Meyerbeer—Rasoumowsky’s Palace Destroyed by Fire | [261] |
| Chapter XV. The Year 1815—New Opera Projects Considered—“Romulus and Remus”—Settlements with the Heirs of Prince Kinsky—Unjust Aspersions on the Conduct of Kinsky and Lobkowitz—“The Mount of Olives” in England—Negotiations with English Publishers—Diabelli—Charles Neate—Death of Karl Kaspar van Beethoven—His Wishes with regard to the Guardianship of His Son—Growth of Beethoven’s Intimacy with Schindler—Compositions and Publications of the Year | [304] |
| Chapter XVI. The Year 1816—A Commission from the Gesellschaft der Musikfreunde—Guardianship of Nephew Karl—Giannatasio del Rio—Beethoven’s Music in London—The Philharmonic Society—Three Overtures Composed, Bought and Discarded—Birchall and Neate—The Erdödys—Fanny Giannatasio—“An die ferne Geliebte”—Major-General Kyd—Accusations against Neate—Letters to Sir George Smart—Anselm Hüttenbrenner—The Year’s Productions | [329] |
| Chapter XVII. The Year 1817—Beethoven and the Public Journals of Vienna—Fanny Giannatasio’s Journal—Extracts from Beethoven’s “Tagebuch”—The London Philharmonic Society again—Propositions Submitted by Ries—Nephew Karl and His Mother—Beethoven’s Pedagogical Suggestions to Czerny—Cipriani Potter—Marschner—Marie Pachler-Koschak—Another Mysterious Passion—Beethoven and Mälzel’s Metronome—An Unproductive Year | [358] |
| Chapter XVIII. The Year 1818—Gift of a Pianoforte from John Broadwood—The Composer Takes Personal Charge of His Nephew—His Unfitness as Foster-father and Guardian—Abandonment of His Projected Visit to London—The Gesellschaft der Musikfreunde’s Oratorio—The Nephew and a Mother’s Legal Struggle for Possession of Her Son—The Case Reviewed—The Predicate “van” and Beethoven’s Nobility—Archduke Rudolph Becomes Archbishop of Olmütz—Work on the Mass in D, Ninth Symphony and Grand Trio in B-flat | [390] |
Chapter I
The Year 1803—Cherubini’s Operas in Vienna—Beethoven’s Engagement at the Theater-an-der-Wien—“Christus am Ölberg” again—Bridgetower and the “Kreutzer” Sonata—-Negotiations with Thomson—New Friends—Mähler’s Portrait of Beethoven.
Kotzebue, after a year of activity in Vienna as Alxinger’s successor in the direction, under the banker Baron von Braun, of the Court Theatre, then a year of exile in Siberia (1800), whence he was recalled by that semi-maniac Paul, who was moved thereto by the delight which the little drama “Der Leibkutscher Peters III.” had given him—then a short time in Jena, where his antagonism to Goethe broke out into an open quarrel, established himself in Berlin. There he began, with Garlieb Merkel (1802), the publication of a polemical literary journal called the “Freymüthige,” Goethe, the Schlegels and their party being the objects of their polemics. Spazier’s “Zeitung für die Elegante Welt” (Leipsic) was its leading opponent, until the establishment of a new literary journal at Jena.
At the beginning of 1803, Kotzebue was again in Vienna on his way to Italy. Some citations from the “Freymüthige” of this time have an especial value, as coming, beyond a doubt, from his pen. His position in society, his knowledge from experience of theatrical affairs in Vienna, his personal acquaintance with Beethoven and the other persons mentioned, all combine to enable him to speak with authority. An article in No. 58 (April 12) on the “Amusements of the Viennese after Carnival,” gives a peep into the salon-life of the capital, and introduces to us divers matters of so much interest, as to excuse the want of novelty in certain parts.
... Amateur concerts at which unconstrained pleasure prevails are frequent. The beginning is usually made with a quartet by Haydn or Mozart; then follows, let us say, an air by Salieri or Paër, then a pianoforte piece with or without another instrument obbligato, and the concert closes as a rule with a chorus or something of the kind from a favorite opera. The most excellent pianoforte pieces that won admiration during the last carnival were a new quintet[1] by Beethoven, clever, serious, full of deep significance and character, but occasionally a little too glaring, here and there Odensprünge in the manner of this master; then a quartet by Anton Eberl, dedicated to the Empress, lighter in character, full of fine yet profound invention, originality, fire and strength, brilliant and imposing. Of all the musical compositions which have appeared of late these are certainly two of the best. Beethoven has for a short time past been engaged, at a considerable salary, by the Theater-an-der-Wien, and will soon produce at that playhouse an oratorio of his composition entitled “Christus am Ölberg.” Amongst the artists on the violin the most notable are Clement, Schuppanzigh (who gives the concerts in the Augarten in the summer) and Luigi Tomasini. Clement (Director of the orchestra an-der-Wien) is an admirable concert player; Schuppanzigh performs quartets very agreeably. Good dilettanti are Eppinger, Molitor and others. Great artists on the pianoforte are Beethofen [sic], Hummel, Madame Auernhammer and others. The famous Abbé Vogler is also here at present, and plays fugues in particular with great precision, although his rather heavy touch betrays the organist. Among the amateurs Baroness Ertmann plays with amazing precision, clearness and delicacy, and Fräulein Kurzbeck touches the keys with high intelligence and deep feeling. Mesdames von Frank and Natorp, formerly Gerardi and Sessi, are excellent singers.
A few words may be added to this picture from other sources. Salieri’s duties being now confined to the sacred music of the Imperial Chapel, Süssmayr being far gone in the consumption of which he died on Sept. 16 (of this year—1803), Conti retaining but the name of orchestral director (he too died the next year), Liechtenstein and Weigl were now the conductors of the Imperial Opera; Henneberg and Seyfried held the same position under Schikaneder, as in the old house, so now in the new.
Schuppanzigh’s summer concerts in the Augarten, and Salieri’s Widows and Orphans concerts at Christmas and in Holy Week, were still the only regular public ones. Vogler had come from Prague in December, and Paër, who had removed to Dresden at Easter, 1802, was again in Vienna to produce his cantata “Das Heilige Grab,” at the Widows and Orphans Concert. It was a period of dearth at Vienna in operatic composition. At the Court Theatre Liechtenstein had failed disastrously; Weigl had not been able to follow up the success of his “Corsär,” and several years more elapsed before he obtained a permanent name in musical annals by his “Schweizerfamilie.” Salieri’s style had become too familiar to all Vienna longer to possess the charms of freshness and novelty. In the Theater-an-der-Wien, Teyber, Henneberg, Seyfried and others composed to order and executed their work satisfactorily enough—indeed, sometimes with decided, though fleeting, success. But no new work, for some time past, composed to the order of either of these theatres, had possessed such qualities as to secure a brilliant and prolonged existence. From another source, however, a new, fresh and powerful musical sensation had been experienced during the past year at both: and in this wise: