The Life of Ludwig van Beethoven, Volume III

by Alexander Wheelock Thayer

Whence came the plan of postponing the publication of the mass for a period in order to sell manuscript copies of it by subscription to the sovereigns of Europe does not appear. Beethoven had it under consideration at the beginning of 1823, for the year was only a week old when he sent his brother Johann with a letter to Griesinger of the Saxon Legation asking him to give advice on the subject to the bearer of the letter, apologizing for not coming in person on the ground of indisposition. Whether or not Griesinger came to his assistance we do not know, but within a fortnight work on the project had been energetically begun. Schindler was now called upon to write, fetch and carry as steadily and industriously as if he were, in fact, what he described himself to be—a private secretary. Among his papers in Berlin are found many billets and loose memoranda bearing on the subject, without date, but grouped as to periods by Schindler himself and provided with occasional glosses touching their contents. Beethoven took so much of his time in requisition, indeed, that he offered to pay him 50 florins after the collection of one of the subscription fees, but Schindler records that he never received them nor would he have accepted them. He was, as he informed the world for many years afterward on his visiting card, “L’Ami de Beethoven,” and his very considerable and entirely unselfish labors were “works of friendship” for which he wanted no remuneration; but he was very naturally rejoiced when Beethoven presented him with several autograph scores, and we have seen how, after the death of Beethoven, Breuning gave him many papers which seemed valueless then but are looked upon as invaluable now. Moreover, he disposed of his Beethoven memorabilia to the Royal Library of Berlin for an annuity of 400 thalers—all of which, however, does not detract from the disinterestedness of his labors for Beethoven, alive, suffering and so frequently helpless.

Royal Subscriptions Invited

The invitations to the courts were issued in part before the end of January. A letter to Schindler, evidently written in that month, asks him to draw out a memorandum of courts from an almanac in which the foreign embassies stationed at Vienna were listed. The invitations were posted on the following dates: to the courts at Baden, Wurtemburg, Bavaria and Saxony on January 23; “to the other ambassadors” (as Beethoven notes) on January 26; to Weimar on February 4; to Mecklenburg and Hesse-Darmstadt on February 5; to Berlin, Copenhagen, Hesse-Cassel and Nassau on February 6; to Tuscany on February 17, and to Paris on March 1. The invitation to the court at Hesse-Cassel had been written on January 23, but it was not sent because, as Schindler says, “it had been found that nothing was to be got from the little courts.” The letter came back to Beethoven and its preservation puts in our hands the formula which, no doubt was followed in all the formal addresses. We therefore give it here:

The undersigned cherishes the wish to send his latest work, which he regards as the most successful of his intellectual products, to the Most Exalted Court of Cassel.

It is a grand solemn mass for 4 solo voices with choruses and complete grand orchestra in score, which can also be used as a grand oratorio.

He therefore begs the High Embassy of His Royal Highness, the Elector of Hesse-Cassel, to be pleased to procure for him the necessary permission of your Exalted Court.

Inasmuch, however, as the copying of the score will entail a considerable expense the author does not think it excessive if he fixes an honorarium at 50 ducats in gold. The work in question, moreover, will not be published for the present.

Vienna, 23 January, 1823.

Ludwig van Beethoven.

Only the signature was in Beethoven’s handwriting. It is not known how many of these invitations were issued; Schindler’s account goes only to the subscriptions received and even here it is not entirely accurate. There were ten acceptances. The first came from the King of Prussia. Prince Hatzfeld acted in the matter for Berlin and Beethoven also invoked the aid of Zelter. Court Councillor Wernhard, Director of the Chancellary of the Embassy at Vienna, brought the report to Beethoven and asked him if he would not prefer a royal order to the 50 ducats. Without hesitation, Beethoven replied “50 ducats,” and after Wernhard had gone he indulged in sarcastic comments on the pursuit of decorations by various contemporaries—“which in his opinion were gained at the cost of the sanctity of art.” Beethoven received the money, but the score was not delivered, owing, no doubt, to delay in the copying, and in July Prince Hatzfeld feels compelled to remind the composer of his remissness. Prince Radziwill in Berlin also subscribed, but he did not receive his copy till more than a year later. On June 28, 1824, a representative of the Prince politely informed Beethoven that he had sent a cheque for 50 ducats to him with a request for a receipt and a copy of the score, but had received neither. On July 3, Schindler informed Beethoven that Hatzfeld had earnestly inquired whether he was now going to receive the Mass. He was being so pestered about the matter from Berlin that it was becoming burdensome. He asked that Beethoven write to the Prince without delay, telling him when he should receive the Mass, so that he might show it in his own justification in Berlin. Schindler says the fault lay with the copyists; in every copy many pages had to be rewritten.