The Life of Ludwig van Beethoven, Volume III

by Alexander Wheelock Thayer

We took a promenade and entertained each other as well as was possible half in conversation, half in writing, while walking. I still remember with emotion that when we sat down to table Beethoven went into an adjoining room and himself brought forth five bottles. He set down one at Schindler’s plate, one at his own and three in front of me, probably to make me understand in his wild and simple way that I was master and should drink as much as I liked. When I drove back to town without Schindler, who remained in Hetzendorf, Beethoven insisted on accompanying me. He sat himself beside me in the open carriage but instead of going only to the edge of the village, he drove with me to the city, getting out at the gates and, after a cordial handshake, starting back alone on the journey of an hour and a half homeward. As he left the carriage I noticed a bit of paper lying on the seat which he had just vacated. I thought that he had forgotten it and beckoned him to come back; but he shook his head and with a loud laugh, as at the success of a ruse, he ran the faster in the opposite direction. I unrolled the paper and it contained exactly the amount of the carriage-hire which I had agreed upon with the driver. His manner of life had so estranged him from all the habits and customs of the world that it probably never occurred to him that under other circumstances he would have been guilty of a gross offence. I took the matter as it was intended and laughingly paid my coachman with the money which had been given to me.[87]

In a Conversation Book used during the visit to Hetzendorf may be read one side of a conversation about “Melusine” which permits us to observe the poet’s capacity to look into the future:

Are you still of the opinion that something else ought to be substituted for the first chorus of our opera? Perhaps a few tones of the hunting-horns might be continued by an invisible chorus of nymphs. I have been thinking if it might not be possible to mark every appearance of Melusine or of her influence in the action by a recurrent and easily grasped melody. Might not the overture begin with this and after the rushing Allegro the introduction be made out of the same melody? I have thought of this melody as that to which Melusine sings her first song.

Grillparzer speaks of “Dragomira,” promises to send the plot to Beethoven in writing and makes many observations concerning music and musicians which must have interested Beethoven even when he did not agree with him. He asserts that on the whole the North Germans know little of music—they will never produce anything higher than “Der Freischütz.” Also he has a good word for Italian opera:

And yet I cannot agree with those who unqualifiedly reject Italian opera. To my mind there are two kinds of opera—one setting out from the text, the other from the music. The latter is the Italian opera. Lablache, and in a degree Fodor, are better actors than the Germans ever had. Perhaps Mozart formed himself on the Italian opera. It is worse now. You would have trouble to find singers for your opera.

Advice Sought from Friends

There are many others with whom Beethoven discussed the opera and who came to him to tell him of their desire to see it written. Duport is greatly interested, wants to read the book with care and asks Beethoven’s terms; Lichnowsky is willing to risk the financial outcome; “I will go security,” he says in October, “for the money which you want for the opera. After selling the opera to the director you can still reserve the right of disposing of it at home and abroad.” And again: “If you do not compose the opera it will be all day with German opera—everybody says that. After the failure of Weber’s opera ‘Euryanthe’ many sent the books back. ‘Freischütz’ is not a genuine opera. If you can use me in any way, you know me and how sincere I am”; and still again, towards the end of November: “You will get incomparably more without a contract; if you want one, the director will make a contract with pleasure at once. Talk it over with Grillparzer; it will also be all one to him. Duport already asked about the opera several days ago.” From other quarters Beethoven is urged to write to Duport after the latter had written to him. In a letter which must have been written late in the year, since Beethoven is back in his town lodgings, he writes to Grillparzer telling him that the management had asked for his (Grillparzer’s) terms and suggesting that he write directly to the management and he would do the same.[88] A later conversation which must have taken place toward the close of the year (and may have been the result of this letter) begins with a complaint by Grillparzer against the censorship for having forbidden his “Ottokar.” Beethoven’s part in the dialogue may easily be supplied by the imagination, and it will be seen that he is still unreconciled to the opening chorus.

You have again taken up “Melusine?” I have already appealed to the management twice but have had no answer.—I have already said that I was compelled to ask 100 ducats for it.—Because as a matter of fact, all the profits of an opera-book remain with the theatre in which it is performed for the first time.—I could have made a spoken drama out of the same material which would have brought me three times as much—I must ask so much in order to meet my obligations to Wallishauser. For ordinary opera-books they pay up to 300 florins C. M. Have you already begun to compose?—Will you please write down for me where you want the changes made?—Because then, nevertheless, the piece will have to begin with a hunt.—Perhaps the last tones of a vanishing hunters’ chorus might blend with the introduction without having the hunters enter.—To begin with a chorus of nymphs might weaken the effect of the chorus at the close of the first act.—I am not quite versed in opera texts.—You want to deliver it to the theatre by September.—The direction wants to make a creditable showing in the eyes of the public.—Doesn’t the text of the opera also seem too long to you?—To whom are you thinking of giving the rôle of Raimund?—They are talking of a young tenor who may have made his début by that time. I believe his name is Cramolini; besides a handsome figure he is said to have a beautiful voice.—It is said that the direction is having him educated.—Forti is a little too gross.—Then I am to expect your written suggestion as to alterations, soon?—I am not busy at present.—I am ready for anything.

For a space there is talk about oratorio texts (“Judith”) and the possibility of musical expression in the case of Christ. Then the text of “Dragomira” is referred to, concerning which Beethoven seems to have asked. Grillparzer says: