Wo sich die Pulse
jugendlich jagen,
Schwebet im Tanze
das Leben dahin, etc.
was introduced and to this Beethoven had to write new music, which he did in September. He also revised, altered and extended the march with chorus.[66] Beethoven wrote a new overture also, that known as “Consecration of the House,” putting aside the overture to “The Ruins of Athens” because that play had served as a second piece, or epilogue, at Pesth. Schindler says he began work on this occasional music in July, after the last touches had been given to the Mass; but progress was not as rapid as was desirable because of the extreme hot weather. He also says it was in Baden and that he was there with him. The letters to Johann show, however, that Beethoven did not go to Baden till September 1, having before that been in Oberdöbling. But he wrote the new pieces in Baden. On a revised copy of the chorus “Wo sich die Pulse” Beethoven wrote: “Written towards the end of September, 1823, performed on October 3 at the Josephstadt Theatre.” The 1823 should be 1822, of course, but singularly enough the same blunder was made on a copy of the overture and another composition, the “Gratulatory Minuet,” which was written about the same time. The explanation is probably that offered by Nottebohm, viz.: that Beethoven dated the copies when he sent them to the Archduke. Beethoven’s remark in a letter to Johann that he had finished the chorus with dances and would write the overture if his health allowed, also fixes the date of the composition of the overture in September. This Schindler, though in error about the work done in July, confirms in this anecdote about the origin of the overture:
Meanwhile September was come. It was therefore time to go to work on the new overture, for the master had long ago seen that that to “The Ruins of Athens” was for obvious reasons unsuitable. One day, while I was walking with him and his nephew in the lovely Helenenthal near Baden, Beethoven told us to go on in advance and join him at an appointed place. It was not long before he overtook us, remarking that he had written down two motives for an overture. At the same time he expressed himself also as to the manner in which he purposed treating them—one in the free style and one in the strict, and, indeed, in Handel’s. As well as his voice permitted he sang the two motives and then asked us which we liked the better. This shows the roseate mood into which for the moment he was thrown by the discovery of two gems for which, perhaps, he had been hunting a long time. The nephew decided in favor of both, while I expressed a desire to see the fugal theme worked out for the purpose mentioned. It is not to be understood that Beethoven wrote the overture “Zur Weihe des Hauses” as he did because I wanted it so, but because he had long cherished the plan to write an overture in the strict, expressly in the Handelian, style.
The overture was written. “The newly organized orchestra of the Josephstadt Theatre did not receive it till the afternoon before the opening, and with innumerable mistakes in every part. The rehearsal which took place in the presence of an almost filled parterre, scarcely sufficed for the correction of the worst of the copyist’s errors.” The overture and chorus written for “The Consecration of the House” are “occasionals” and were conceived and wrought out in a remarkably short time for that period in Beethoven’s activities. The first was offered for publication to Steiner and, with other pieces, to Diabelli. The negotiations failed and the overture finally appeared from the press of Schott in 1825, with a dedication to Prince Galitzin.
Opening of the Josephstadt Theatre
The performance of “The Consecration of the House” took place as projected, on October 3, the eve of the Emperor’s name-day. All of the 400 reserved seats and 14 boxes had been sold several weeks before. Beethoven had reserved the direction for himself and sat at the pianoforte, the greater part of the orchestra within view, his left ear turned towards the stage. He was still able to hear a little with that ear, as we know from the fact related by Schindler, that he was fond of listening to Cherubini’s overture to “Medea” played by a musical clock which stood in a restaurant adjoining the Josephstadt Theatre. Chapelmaster Franz Gläser stood at his right, and Schindler, who had recently abandoned the law, led the first violins. At the dress rehearsal Fanny Heckermann sang timidly and dragged perceptibly in the duet. Beethoven observed this and called the singer to him, pointed out the places in which he wanted more animation, spoke some words of encouragement and advised her to follow the tenor, who was an experienced singer. He then had the number repeated and on its conclusion remarked: “Well done, this time, Fräulein Heckermann!” The tenor was Michael Greiner, with whom Beethoven was acquainted, from Baden, and Fräulein Kaiser sang the part of Pallas. The rehearsal and the performance demonstrated plainly, Schindler says, that under no circumstances was Beethoven able longer to conduct large bodies of performers. The representation, despite the enthusiasm of the performers, stimulated by Beethoven’s encouraging speeches, was not a success. Beethoven would take none of the fault to himself, however, though his anxiety led him to hold back the music despite the exertions of his two leaders, whom he admonished against too much precipitancy, of which Schindler protests they were not guilty. There were demonstrations of enthusiasm at the close and Beethoven was led before the curtain by Director Hensler. The work was repeated on October 4, 5 and 6. Beethoven’s friendly feeling for Hensler gave rise to a new orchestral composition a few weeks later. The members of the company paid a tribute to their director on his name-day, November 3. After a performance of Meisl’s drama “1722, 1822, 1922,” the audience having departed, the director was called to the festively decorated and illuminated stage, and surrounded by his company in gala dress. A poetical address was read to him by the stage-manager. After he had gone back to his lodgings, the orchestra and chorus serenaded him, the programme consisting of an overture to “The Prodigal Son” by Chapelmaster Drechsel, a concerto for flute by Chapelmaster Gläser, and what Bäuerle’s “Theaterzeitung” called “a glorious new symphony” composed for the occasion by Beethoven, the whole ending with the march and chorus from Mozart’s “Titus.” The “new symphony” was the “Gratulatory Minuet” of which mention has been made. Nothing is said in the accounts about Beethoven’s presence at the serenade, and as “Fidelio” was performed that night at the Kärnthnerthor Theatre, his absence might easily be explained. On the next day[67] Hensler gave a dinner in the property-room of the theatre at 3 p.m. Beethoven, Gläser, Bäuerle, Gleich, Meisl, Hopp and others were present. Beethoven had a seat directly under the musical clock. Gläser told Reubl (Reichl?) who provided the entertainment to set the clock to the overture to “Fidelio” and then wrote to Beethoven to listen, as he would soon hear it. Beethoven listened and then said: “It plays it better than the orchestra in the Kärnthnerthor.”
The “Gratulatory Minuet” was offered to Peters in the letter of December 20. Beethoven was evidently eager to realize quickly on a work which had cost him but little labor—the product of a period in which his fancy seemed to have regained its old-time fecundity and he his old-time delight in work. He offered it elsewhere and gave a copy (the one that he misdated) to Archduke Rudolph for his collection. Artaria published it in 1835 under the title “Allegretto (Gratulations-Menuet)” with a dedication to Carl Holz. The title on the autograph reads: “Tempo di Minuetto quasi Allegretto.” “Allegro non troppo” was originally written but was scratched out and “Gratulations-Menuet” written in its place.
Unable to Conduct “Fidelio”
Beethoven’s absence from the complimentary function to Hensler in the theatre may be explained by the revival of “Fidelio” which took place on the same night, November 3, after an absence from the stage of three years (not eight, as Schindler says), though we do not know that he was present. It was a benefit performance for Wilhelmine Schröder, then 17 years old, afterwards the famous dramatic singer Madame Schröder-Devrient. Haitzinger sang Florestan, Zeltner Rocco, Forti Pizarro. Rauscher Jaquino, Nestroy the Minister, Fräulein Demmer Marcelline and Fräulein Schröder Leonore. Schindler tells a pathetic tale concerning the dress rehearsal. Together with his friends, mindful of the happenings in the Hall of the University in 1819 and in the Josephstadt Theatre only a short time before, Schindler advised Beethoven not to attempt to conduct the performance. He hesitated for a few days, then announced his intention to direct with the help of Umlauf. Schindler escorted him to the rehearsal. The overture went well, the orchestra being well trained in it, but at the first duet it became painfully manifest that Beethoven heard nothing of what was going on on the stage. He slackened his beat and the orchestra obeyed; the singers urged the movement onward. Umlauf stopped the performance at the rappings on the jailor’s lodge-gate but gave no reason to Beethoven. At the same place on the repetition there was the same confusion. Let Schindler continue the narrative, the correctness of which there seems to be no reason to question:
The impossibility of going ahead with the author of the work was evident. But how, in what manner inform him of the fact? Neither Duport, the director, nor Umlauf was willing to speak the saddening words: “It will not do; go away, you unhappy man!” Beethoven, already uneasy in his seat, turned now to the right now to the left, scrutinizing the faces to learn the cause of the interruption. Everywhere silence. I had approached near him in the orchestra. He banded me his note-book with an indication that I write what the trouble was. Hastily I wrote in effect: “Please do not go on; more at home.” With a bound he was in the parterre and said merely: “Out, quick!” Without stopping he ran towards his lodgings, Pfarrgasse, Vorstadt Leimgrube. Inside he threw himself on the sofa, covered his face with his hands and remained in this attitude till we sat down to eat. During the meal not a word came from his lips; he was a picture of profound melancholy and depression. When I tried to go away after the meal he begged me not to leave him until it was time to go to the theatre. At parting he asked me to go with him next day to his physician, Dr. Smetana, who had gained some repute as an aurist.