The particulars of this scene, in which Reichardt suffered so, are more or less circumstantially related by Ries, Seyfried, Czerny, Moscheles and Doležalek. Their statements when compared are not inconsistent and supplement each other, except as to Ries, whose memory evidently exaggerated what really occurred. Substantially they are as follows:
Seyfried (Appendix to “Beethoven’s Studien,” p. 15): When the master brought out his orchestral Fantasia with choruses, he arranged with me at the somewhat hurried rehearsal, with wet voice-parts as usual, that the second variation should be played without the repeat. In the evening, however, absorbed in his creation, he forgot all about the instructions which he had given, repeated the first part while the orchestra accompanied the second, which sounded not altogether edifying. A trifle too late, the Concertmaster, Unrath, noticed the mistake, looked in surprise at his lost companions, stopped playing and called out drily: “Again!” A little displeased, the violinist Anton Wranitsky asked “With repeats?” “Yes,” came the answer, and now the thing went straight as a string.
The “Allg. Mus. Zeit.” reported: The wind-instruments varied the theme which Beethoven had previously played on the pianoforte. The turn came to the oboes. The clarinets, if I am not mistaken, make a mistake in the count and enter at once. A curious mixture of tones results. Beethoven jumps up, tries to silence the clarinets, but does not succeed until he has called out quite loudly and rather ill-temperedly: “Stop, stop! That will not do! Again—again!”
Czerny: In the Pianoforte with chorus he called out at the mistake: “Wrong, badly played, wrong, again!” Several musicians wanted to go away.
Doležalek: He jumped up, ran to the desks and pointed out the place.
Moscheles: I remember having been present at the performance in question, seated in a corner of the gallery, in the Theater-an-der-Wien. During the last movement of the Fantasia I perceived that, like a run-away carriage going down-hill, an overturn was inevitable. Almost immediately after it was, that I saw Beethoven give the signal for stopping. His voice was not heard; but he had probably given directions where to begin again, and after a moment’s respectful silence on the part of the audience, the orchestra recommenced and the performance proceeded without further mistakes or stoppage. To those who are acquainted with the work, it may be interesting to know the precise point at which the mistake occurred. It was in the passage where for several pages every three bars make up a triple rhythm.
Seyfried says further: At first he could not understand that he had in a manner humiliated the musicians. He thought it was a duty to correct an error that had been made and that the audience was entitled to hear everything properly played, for its money. But he readily and heartily begged the pardon of the orchestra for the humiliation to which he had subjected it, and was honest enough to spread the story himself and assume all responsibility for his own absence of mind.
The pecuniary results of this concert to Beethoven are not known.
The Fourth Pianoforte Concerto