Samothracian L——l.[78]
How about the trombone part. It is certain that the youngster still has it, as he did not return it when he brought back the Gloria. There was so much to do in looking over the wretched scribbling that to carry back the trombone part was forgotten. If necessary, I shall come to Vienna about the police matter. Here, for Rampel, is first the theme of the Var. which is to be copied for me on a separate sheet—then he is to copy the rest to Var. 13 or to the end of Var. 12, and so an end of this. Get from Schlemmer what remains of the Kyrie:—show him the postscript and herewith satis.—for such Hauptl——ls there is nothing more to be done. Farewell—attend to everything—I am obliged to bind up my eyes at night and must be very sparing in my use of them. Otherwise, Smettana writes, I shall write but few more notes. To Wocher, whom I shall visit myself as soon as I come to town, my prettiest compliments and has he yet sent away the Var.?
Negotiations with Diabelli
Beethoven’s thoughts in connection with the Mass were not all engrossed during 1823 with the finishing touches on the composition and the subscription; he was still thinking of the publication of the work. His thoughts went to London, as a letter to Ries shows. The Mass also came up in his dealings with Diabelli in Vienna. There were, probably, other negotiations, of which we are not advised. An agreement had been reached with Diabelli concerning the Variations, Op. 120 (on the Diabelli waltz theme), and the Mass had also been mentioned. Whatever the nature of the negotiations may have been, Diabelli now seems to have been insisting on conditions which Beethoven could not accept without breach of contract with his subscribers or revoking the subscriptions. In March Diabelli called Schindler into his shop and had a talk with him which is detailed in a Conversation Book. It is Schindler who is speaking:
Diabelli called me in to-day while I was passing and said to me that he would take the Mass and publish it in two months by subscription. He guarantees you the 1000 florins, as he says he has already told you. You can have as many copies as you want—Diabelli only asks of you that you let him know your decision within a few days, then he will have work begun at once and promises that everything shall be ready by the end of May. You, however, will not have any further care in the matter. I think the proposition a very good one, the more, because the work will be printed at once.
Beethoven appears to have doubts or scruples on the score of the invitations sent to the sovereigns.
It will make no difference to the most exalted courts if printed copies are put out. Do you want the 1000 florins in cash at once or later?—he assures me that they will be guaranteed to you; the business now is that you come to an understanding.
It appears, now, that Diabelli wants to publish the three supplementary pieces also; but Beethoven still hesitates:
It would be best if you were to persuade Diabelli to print the work at once, but wait a few months with the publication by subscription. Then you will not be compromised in the matter, nor he either.
Later (there has plainly been another consultation between Schindler and Diabelli):