He now opened his budget of wares: the largest work was a Mass—many had striven for it, “100 weighty Louis d’ors” had been offered for it, but he had demanded at least 1,000 florins Convention Coin, for which sum he would also prepare the pianoforte score; variations on a waltz (“there are many”) for pianoforte—30 ducats in gold; a comic air with orchestra on Goethe’s “Mit Mädeln sich vertragen,” and another air of the same genre, 16 ducats each;[44] several rather extended songs with pianoforte accompaniment, among them a little Italian cantata with recitative,[45] 12 ducats each; there were also recitatives to some of the German songs; 8 ducats each for songs; an elegy for four voices and string quartet accompaniment,[46] 24 ducats; a chorus of Dervishes with full orchestra, 20 ducats; a march for orchestra written for the tragedy “Tarpeia,” with arrangement for pianoforte, 12 ducats; Romance for violin solo and orchestra,[47] 15 ducats; Grand Trio for 2 oboi and 1 English horn,[48] which might be transcribed for other instruments, 30 ducats; four military marches with percussion (“Turkish music”) prices on application; bagatelles, or trifles for pianoforte, prices on application.
The copy of the letter as printed contains the words here: “All these works are ready,” but they are wanting in the original draft. Beethoven now goes on with a list of compositions which Peters “might have soon”; a sonata for pianoforte solo,[49] 40 ducats; a string quartet, 50 ducats. More than anything else, however, he was desirous to have a complete edition of his works, as he wished to look after the publication in his lifetime. He had received a number of applications, but could not, or would not, meet all the conditions. With some necessary help he thought such an edition of his works might be brought out in two years, possibly in one-and-a-half; a new work was to be added to each class, “to the Variations a new set of variations, to the Sonatas a new sonata,” etc., “and for all these together I ask 10,000 florins Convention Coin.” He deplores the fact that he is no business man; he wishes that matters were different than they are, but he is forced to act as he does by competition, and begs that secrecy be observed touching the negotiations, to guard against trouble with other publishers.
He was not kept waiting for an answer;—Peters’ reply is dated June 15. He regrets to hear of Steiner’s duplicity, but his conduct may have been harmless in intention and caused by his weakness. The works which he wanted and of which he had given a list to Steiner were a quartet for strings, a trio of the same kind, a concert overture for full orchestra, songs and some small solos for pianoforte “such as capriccios, divertissements,” etc. Then he takes up Beethoven’s detailed offer of compositions:
The Mass Sold to Peters
The most admirable amongst them is your Grand Mass, which you offer me together with the pianoforte score for one thousand florins C. C. and to the acceptance of which at the price I confess my readiness.... Between honest men (offenen Männern) like us there is no need of a contract; but if you want one send it to me and I will return it signed. If not, please state to me in writing that I am to receive the Mass in question together with the pianoforte score for 1000 florins in 20-florin pieces, and indicate when I am to receive it and that it is to be my sole property for ever. I want the first so that I may look upon this transaction as concluded, and the time I want to know so that I can arrange about the publication. If I were a rich man I would pay you very differently for this Mass, for I opine that it is something right excellent, especially because it was composed for an occasion; but for me 1000 florins for a Mass is a large expenditure and the entire transaction, on my word, is undertaken only in order to show myself to you and the world as a publisher who does something for art. I must ask another consideration, namely, that nobody learn how much I have paid for the Mass—at least not for some time; I am not a man of large means, but must worry and drudge; nevertheless I pay artists as well as I can and in general better than other publishers.
For the present, Peters adds, he does not want to publish larger vocal works by Beethoven nor the Mass singly but along with other works, to show the Viennese publishers that there is a contract between him and Beethoven which obliges the latter to send him compositions. To that end he asks for some songs, a few bagatelles for pianoforte solo, the four military marches; he would be glad to take also the new string quartet, but 50 ducats is beyond his means. Beethoven is at liberty to tell Steiner that he had applied to Beethoven with his knowledge and consent. Beethoven’s answer (incorrectly dated July instead of June 26) says:
Sale of the Mass to Peters Confirmed
I write you now only that I give you the Mass together with the pianoforte score for the sum of 1000 florins, C. C. in 20-florin pieces. You will in all likelihood receive the score in copy by the end of July—perhaps a few days earlier or later. As I am always busy and have been ailing for five months and works must be carefully examined, if they go to a distance this always is a slower matter with me. In no event will Schlesinger ever get anything more from me; he has played me a Jewish trick, but aside from that he is not among those who might have received the Mass. The competition for my works is very strong at present for which I thank the Almighty, for I have also already lost much. Moreover, I am the foster-father of the child of my brother, who died destitute. As this boy at the age of 15 years shows so much aptitude for the sciences, his studies and support cost much money now and he must be provided for in the future, we being neither Indians nor Iroquois who, as is notorious, leave everything in the hands of God, and a pauper’s is a wretched lot. I keep silence concerning everything between us by preference and beg you to be silent about the present connection with me. I will let you know when it is time to speak, which is not at all necessary now.... I assure you on my honor, which I hold highest after God, that I never asked Steiner to receive orders for me. It has always been my chief principle never to appeal to a publisher, not out of pride but because I have wanted to see how extended is the province which my fame has reached.... As for the songs, I have already spoken. I think that an honorarium of 40 ducats is not too much for the 3 songs and 4 marches. You can write to me on the subject. As soon as the Mass is ready I will let you know and ask you to remit the honorarium to a house here and I will deliver the work as soon as I have received it. I will take care to be present at the delivery to the post and that the freight charge shall not be too great. I should like soon to be made acquainted with your plan concerning the complete edition which is so close to my heart.
Peters answers this letter on July 3. He is willing to pay 40 ducats for the songs and marches and to remit part of the honorarium in advance. Beethoven’s complaint about his financial affairs distresses him and he would like to help him. “It is wrong that a man like you is obliged to think about money matters. The great ones of the earth should long ago have placed you in a position free from care, so that you would no longer have to live on art but only for art.” Before this letter was received Beethoven had written a second and supplementary reply to the letter of June 13; it is dated July 6. He had reread his letter and discovered that Peters wanted some of the bagatelles and a quartet for strings. For the former, “among which are some of considerable length—they might be published separately under the title ‘Kleinigkeiten’ (Trifles) No. 1, 2, etc.”—he asked 8 ducats each. The quartet was not fully completed, work on it having been interrupted. Here it was difficult to lower the prices, as such works were the most highly paid for—he might almost say, to the shame of the general taste, which in art frequently falls below that of private taste. “I have written you everything concerning the Mass, and that is settled.” On July 12, Peters writes that he does not know how long the bagatelles are and so can not tell whether they are to be printed separately or together; but he asks that a number be sent to him together with word as to how many of such small pieces Beethoven has on hand, as he might take them all. As for songs he would prefer to have some in the style of “Adelaide” or “Schloss Markenstein.” The honorarium for the compositions which were to be sent now would amount to 200 or 300 florins in pieces of 20, but as he could not determine the exact amount he asked Beethoven to collect the amount from Meiss (Meisl) Brothers, bankers, on exhibition of receipt and bill of shipment. It was all the same to him whether he collected the money now or later; it was waiting and at Beethoven’s disposal. In this manner, so convenient for Beethoven, he would make all his payments for manuscripts purchased. On August 3 Beethoven writes:
I have not made up my mind as to the selection of songs and Kleinigkeiten, but everything will be delivered by August 13. I await your advices in the matter and will make no use of your bill of exchange. As soon as I know that the honorarium for the Mass and the other works is here all these things can be delivered by the 15th.