[139] The Thayer transcript has it correctly: “at the inn Zum wilden Mann.”
[140] In the Thayer transcript: “the second of the three MSS. quartettes bought by Schlesinger.”
[141] Dr. Deiters prints in a foot-note a different version of this story from Castelli’s memoirs. According to this it was Castelli who set the theme for Beethoven, he having, after long urging, said, “Very well, in the name of the three devils; but Castelli, who has no idea of pianoforte playing, must give me a theme.” Thereupon Castelli brushed his finger up and down three adjacent keys of the pianoforte and these notes Beethoven continually wove into the music which he improvised for an hour, by the clock. Smart names the ten men who composed Schlesinger’s party; Castelli’s is not among them, and Smart’s story, noted in his journal at the time, is unquestionably correct. Schlesinger may have given another dinner, or Castelli’s imagination been livelier than his memory.
[142] When Mr. Thayer visited Sir George Smart in London in 1861 he made the following notes of the conversation: Smart spoke, or rather wrote on Beethoven’s slate;—he had been warned not to write in Beethoven’s books—in French, a language which Beethoven (as he says) spoke fluently. He (Smart) was particularly desirous of understanding Beethoven’s intentions as to the performance of the Choral Sym. and spoke with him about the recitative for instruments in the last movement. Beethoven’s reply was:
“The recitative in strict time.”
Smart objected, that so played, it was not a recitative nor had words to recite. Beethoven replied, “he called it so;” and finally closed the discussion with “I wish it to go in strict time”; which, from a composer, was of course decisive. The question of how the bass recitatives ought to be played had already been discussed when the rehearsals for the concert of 1824 were in progress, as may be seen in a Conversation Book of March: Schindler:—“How many contrabasses are to play the recitative?—All!—There would be no difficulty in strict time, but to give it in a singing style will make careful study necessary.—If old Krams were still alive we could let the matter go unconcernedly, for he directed 12 contrabasses who had to do what he wanted.—Good; then just as if words were under it?—If necessary I will write words under it so that they may learn to sing.”
[143] From Thayer’s note-book of 1857: “Circumstance related to me by the son of Mr. Molt. When Mr. Molt called upon Beethoven, December 16, 1825, (B.’s birthday) Beethoven showed him some verses he had just written complimentary to a young lady and fell into such enthusiasm talking about her that he passed entirely from his musical conversation. Verses poor enough, Mr. Molt said. Mr. Molt also described the meanness of the rooms in which B. lived.”
[144] To Thayer; from his note-book.
[145] In a memorandum for Thayer.
[146] Laudari a viro laudate—Nævius. Lætus sum laudari me, inquit Hector, opinor apud Nævium, abs te, pater, a laudate viro—Cicero ad fam. XV, 6; Cum tragicus ille apud nos ait magnificum esse laudari a laudato viro, laude digno, ait.—Seneca, Epist. 102, 16.