As before stated, Förster was the Count’s instructor in musical theory, the accomplished Bigot was librarian and his talented wife pianist. These were the years (1808-1815) when, says Seyfried, “as is known Beethoven was, as it were, cock of the walk in the princely establishment; everything that he composed was rehearsed hot from the griddle and performed to the nicety of a hair, according to his ideas, just as he wanted it and not otherwise, with affectionate interest, obedience and devotion such as could spring only from such ardent admirers of his lofty genius, and with a penetration into the most secret intentions of the composer and the most perfect comprehension of his intellectual tendencies; so that these quartet players achieved that universal celebrity concerning which there was but one voice in the art-world.”
The date of Dragonetti’s arrival in Vienna, on this, his second visit, disposes of an English tradition, that Beethoven wrote the famous contrabass passage in the Scherzo of the C minor Symphony expressly for him. The story contains doubtless so much of truth as this: that it was the display of the possibilities of that instrument, made by its greatest master, which induced Beethoven to venture the introduction into that symphony of what has so often proved a stumbling-block and rock of offence to contrabassists of no common and ordinary skill.
But a new topic demands our attention. Beethoven in his later years, in moments of spleen and ill humor, gave utterance both in conversation and in writing to expressions, which have since served as the basis of bitter diatribes against the Vienna public. Czerny—than whom no man could be better informed on the subject of the master’s actual position—takes occasion in his notes for Jahn to remark:
It has repeatedly been said in foreign lands that Beethoven was not respected in Vienna and was suppressed. The truth is that already as a youth he received all manner of support from our high aristocracy and enjoyed as much care and respect as ever fell to the lot of a young artist.... Later, too, when he estranged many by his hypochondria, nothing was charged against his often very striking peculiarities; hence his predilection for Vienna, and it is doubtful if he would have been left so undisturbed in any other country. It is true that as an artist he had to fight cabals, but the public was innocent in this. He was always marvelled at and respected as an extraordinary being and his greatness was suspected even by those who did not understand him. Whether or not to be rich rested with him, but he was not made for domestic order.
The Court Theatres Change Managers
Upon the correctness of these statements, in so far as they relate to Beethoven’s last years, the reader will have ample means of judging hereafter; he knows, that Czerny is right, up to the present date. Indeed, this month of November, to which the letter to Oppersdorff has brought us, affords him excellent confirmation. For, as in the spring so now in autumn, it is Beethoven’s popularity that must insure success to the Grand Concert for the public charities; it is his name that is known to be more attractive to the Vienna public than any other, save that of the venerable Haydn; and as Haydn’s oratorios are the staple productions at the great charity concerts of vocal music in the Burg theatre, so the younger master’s symphonies, concertos and overtures form the most alluring programmes for the instrumental “Academies” in the other theatres—at all events, in 1808, this was the opinion of Joseph Hartl. Beethoven’s “princely rabble” had, after a year’s experience and pecuniary losses, turned over the direction of the theatre to Government Councillor, now Court Councillor, Joseph Hartl. It was not so much for his love of art, as for the great reputation which his administrative talents had gained him, that Hartl was called to assume the labors of directing the three theatres, then sunk “into the most embarrassing conditions”—a call which he accepted. For three years he administered them wisely, and with all the success possible in the troubled state of the public business and finances.
A supervisor of the public charities, who at the same time controlled the theatres, he was of course able to secure the highest talent for benevolent concerts on terms advantageous to all parties concerned; and thus it came about, that at the concert for public charities in the Theater-an-der-Wien on the evening of Leopold’s day, Tuesday, November 15th, Beethoven conducted one of his symphonies, the “Coriolan” Overture, and a pianoforte concerto—perhaps he played the solo of the last; but the want of any detailed report of the concert leaves the point in doubt. Which of the symphonies and concertos were performed on this occasion is not recorded; it is only known that they were not new. In return for Beethoven’s noble contribution of his works and personal services to the charity concerts of April 17 and November 15, Hartl gave him the free use of the Theater-an-der-Wien for an Akademie, thus advertised in the “Wiener Zeitung” of December 17.
Musical Academy.
On Thursday, December 22, Ludwig van Beethoven will have the honor to give a musical academy in the R. I. Priv. Theater-an-der-Wien. All the pieces are of his composition, entirely new, and not yet heard in public.... First Part: 1, A Symphony, entitled: “A Recollection of Country Life,” in F major (No. 5). 2, Aria. 3, 3 Hymns with Latin text, composed in the church style with chorus and solos. 4, Pianoforte Concerto played by himself.
Second Part. 1, Grand Symphony in C minor (No. 6). 2, Holy, with Latin text composed in the church style with chorus and solos. 3, Fantasia for Pianoforte alone. 4, Fantasia for the Pianoforte which ends with the gradual entrance of the entire orchestra and the introduction of choruses as a finale.