The number of the compositions was increased to sixty-three, and they were published in 1808, the last (No. 63) being by Beethoven. This was by no means considered the best at the time, although it alone now survives.
The Publications of the Year 1807
Though disappointed in December, as he had been in March, in the hope of obtaining the use of a theatre for a concert, Beethoven was not thereby prevented from coming prominently before the public as composer and director. It was on this wise: The want of better opportunities to hear good symphony music well performed, than Schuppanzigh’s Concerts—which were also confined to the summer months—and the occasional hastily arranged “Academies” of composers and virtuosos, afforded, induced a number of music-lovers early in the winter to form an institute under the modest title: “Concert of Music-Lovers” (Liebhaber-Concert). Says the “Wiener Vaterländische Blätter” of May 27, 1808: “An orchestra was organized, whose members were chosen from the best of the local music-lovers (dilettanti). A few wind-instruments only—French horns, trumpets, etc., were drafted from the Vienna theatres.... The audiences were composed exclusively of the nobility of the town and foreigners of note, and among these classes the preference was given to the cognoscenti and amateurs.” The hall “zur Mehlgrube,” which was first engaged, proved to be too small, and the concerts were transferred to the hall of the University, where “in twenty meetings symphonies, overtures, concertos and vocal pieces were performed zealously and affectionately and received with general approval.” “Banker Häring was a director in the earlier concerts but gave way to Clement ‘because of disagreements.’” The works of Beethoven reported as having been performed in these concerts, are the Symphony in D (in the first concert), the overture to “Prometheus” in November, the “Eroica” Symphony and “Coriolan” Overture in December, and about New Year the Fourth Symphony in B-flat, which also on the 15th of November had been played in the Burgtheater at a concert for the public charities. Most, if not all of these works were directed by their composer. The works ascertained as belonging to this year are: (1) The transcription of the Violin Concerto for Pianoforte, made (as Clementi’s letter to Collard says) at Clementi’s request; (2) the overture to “Coriolan”; (3) the Mass in C;[54] (4) the so-called “Leonore” Overture, No. 1, published as Op. 138; (5) the Symphony in C minor; (6) the Arietta, “In questa tomba.” The original publications of the year were few, viz., (1) “LIVe Sonata” for Pianoforte, Op. 57, dedicated to Count Brunswick, advertised in the “Wiener Zeitung” of February 18, by the Kunst- und Industrie-Comptoir; (2) Thirty-two Variations in C minor, advertised by the same firm on April 29; (3) Concerto concertant for Pianoforte, Violin and Violoncello, Op. 56, dedicated to Prince Lobkowitz, advertised in the “Wiener Zeitung” on July 1.
The following advertisements are evidence of the great and increasing popularity of Beethoven’s name: On March 21, Traeg announces 12 Écossaises and 12 Waltzes for two violins and bass (2 flutes, 2 horns ad lib.); also for pianoforte; other works are being arranged; on April 20, the Kunst- und Industrie-Comptoir announces an arrangement of the “Eroica” Symphony for pianoforte, violin, viola and violoncello; on May 27 (Artaria), a Sonata for Pianoforte and Violoncello, Op. 64, transcribed from Op. 3; on June 13 (Traeg), the Symphony in D major arranged by Ries as a Quintet with double-bass, flute, 2 horns ad lib.; on September 12 (the Chemical Printing Works), a Polonaise, Op. 8, for two violins and for violin and guitar.
Chapter VII
The Year 1808—Beethoven’s Brother Johann—Plans for New Operas—The “Pastoral Symphony” and “Choral Fantasia”—A Call to Cassel—Appreciation in Vienna.
Slanders against Johann van Beethoven
The history of the year 1808 must be preceded by the following letter to Gleichenstein:
Dear good Gleichenstein: