In the “Grenzboten,” Vol. XVI, No. 14, April 3, 1857, Fräulein Giannatasio del Rio relates that, in 1816, Beethoven told how once during the invasion when the Prince had a number of Frenchmen as his guests, he (the Prince) repeatedly tried to coerce him to play for them on the pianoforte and that he had stoutly refused; which led to a scene between him and the Prince, whereupon B. indiscreetly and suddenly left the house.—He once said that it is easy to get along with nobility, but it was necessary to have something to impress them with.
To propitiate him for the humiliation which he had suffered, the bust of his patron had to become a sacrifice; he dashed it into pieces from its place on a cabinet to the floor. Alois Fuchs recorded an anecdote which illustrates the feeling which made Beethoven so unwilling to play before the French officers. After the battle at Jena (October 14, 1806) Beethoven met his friend Krumpholz, to whom he was warmly attached, and, as usual, asked him, “What’s the news?” Krumpholz answered that the latest news was the report just received that the great hero Napoleon had won another decisive victory over the Prussians. Greatly angered, Beethoven replied to this: “It’s a pity that I do not understand the art of war as well as I do the art of music, I would conquer him!”
A very natural query arises here: how did Beethoven meet the expenses of these costly journeys? In answer it may be said that there is good reason to believe that he borrowed and used his brother Johann’s scanty savings.
Thomson and Scottish Songs
A letter by Beethoven, dated November 1, introduces a new topic. At the time of the Union of the Kingdoms of England and Scotland, 1707, a “Board of Trustees for the Encouragement of Arts and Manufactures in Scotland” was established. About 1785 George Thomson became its Secretary. He had some knowledge of musical science, and was an enthusiastic lover of Scottish airs and melodies. His official position brought him into correspondence with educated and influential people in all parts of the kingdom, and afforded him singular facilities for the execution of an early formed project—that of making the most extensive collection possible of the music of Scotland. Many compilations, various in extent and merit, had been published, but all of them, as Thomson justly remarks, “more or less defective and exceptionable.” In one of his prefaces he says:
To furnish a collection of all the fine airs, both of the plaintive and the lively kind, unmixed with trifling and inferior ones—to obtain the most suitable and finished accompaniments, with the addition of characteristic symphonies to introduce and conclude each air—and to substitute congenial and interesting songs, every way worthy of the music, in the room of insipid or exceptionable verses, were the great objects of the present publication....
For the composition of the symphonies and accompaniments, he entered into terms with Mr. Pleyel, who fulfilled part of his engagement satisfactorily; but having then stopped short, the editor found it necessary to turn his eyes elsewhere. He was so fortunate, however, as to engage Mr. Koželuch, and afterwards, Dr. Haydn, to proceed with the work, which they have finished in such a manner as to leave him nothing to regret on Mr. Pleyel’s breach of engagement, etc., etc.
Doubtless Thomson would have applied sooner to Haydn, had he known that the great master would condescend to such a labor. The appearance of William Napier’s two volumes of “Original Scots Songs, in three parts, the Harmony by Haydn,” removed any doubt on this point. For Napier, Haydn simply added a violin part and a figured bass; for Thomson, a full pianoforte score, parts for violin and violoncello, and an instrumental introduction and coda. A very remarkable feature of the enterprise was, that the composers of the accompaniments had no knowledge of the texts, and the writers of the poetry no knowledge of the accompaniments. The poets, in many cases, had a stanza of the original song as a model for the metre and rhythm; in all others, they and the composers alike received the bare melody, with nothing else to guide them in their work but Italian musical terms: allegro, moderato, andante, etc., etc., affettuoso, espressivo, scherzando, and the like. This is also true of the Welsh and Irish melodies. Beethoven began his labors for Thomson with the last named. In the preface to the first volume, dated “Edinburgh, anno 1814,” after describing his work in collecting Irish airs, Thomson says:
They were sent to Haydn to be harmonized along with the Scottish and Welsh airs; but after that celebrated composer had finished the greater part of those two works, his declining health only enabled him to harmonize a few of the Irish Melodies; and upon his death, it became necessary to find another composer to whom the task of harmonizing them should be committed.[37] Of all composers that are now living, it is acknowledged by every intelligent and unprejudiced musician, that the only one, who occupies the same distinguished rank with the late Haydn is Beethoven. Possessing the most original genius and inventive fancy, united to profound science, refined taste and an enthusiastic love of his art—his compositions, like those of his illustrious predecessor, will bear endless repetition and afford ever new delight. To this composer, therefore, the Editor eagerly applied for symphonies and accompaniments to the Irish Melodies; and to his inexpressible satisfaction, Beethoven undertook the composition. After years of anxious suspense and teazing disappointment, by the miscarriage of letters and manuscripts, owing to the unprecedented difficulty of communication between England and Vienna, the long expected symphonies and accompaniments at last reached the Editor, three other copies having previously been lost upon the road.
Near the close of his preface, Thomson says: “After the volume was printed and some copies of it had been circulated, an opportunity occurred of sending it to Beethoven, who corrected the few inaccuracies that had escaped the notice of the Editor and his friends; and he trusts it will be found without a single error.”