At the conclusion of the concert Beethoven was unanimously called forward. He modestly saluted the audience, and retired amidst the loudest expressions of enthusiasm. Yet the feeling of joy was tempered by a universal regret, to see so gifted an individual labouring under an infliction the most cruel that could befal an artist in that profession for which Nature had destined him. We have no doubt but the master will consider this as one of the proudest days in his existence; and it is to be hoped that the testimony of general feeling which he has witnessed will tend to soothe his spirit, to soften down some of its asperities, and to convince him that he stands upon a pinnacle far above the reach of envy and every malignant passion.
Both singers and instrumental performers acquitted themselves on this interesting occasion in a manner that is deserving of the highest praise. Of the worthy Kapellmeister Umlauf, who undertook the conduct of this great work, and M. Shuppanzigh, a master of known abilities, who led the band, it is but justice to say that their zeal, knowledge, and talents deservedly obtained them the most conspicuous place and the merited thanks of their brother artists. The impracticability of devoting sufficient time for the number of rehearsals that were necessary, in order to do justice to music which is at once new and of so lofty a character, made it impossible to give it with that precision, and those delicate shades of forte and piano, which are required to do them justice.
The deep and general feeling which this concert, in honour of the great master of the modern art in Germany, excited, together with the disappointment experienced by many who were unable to obtain admission, induced the Director of the Theatre to make an offer to the composer of a certain consideration if he would condescend once more to appear in public, and assist at a repetition of the same music. With this request he complied; and in addition to the pieces before performed, he offered them a manuscript Terzetto, with Italian words, which was accordingly performed, and considered by the numerous Italian amateurs in Vienna as a kind of compliment paid by the composer to themselves. The performance went off with still greater éclat than on the former occasion, and this new composition was hailed by all with no less enthusiasm than the other works.
No. IV.
Characteristics of Beethoven, from Wegeler and Ries's "Notizen."
WHEN Beethoven's reputation had attained the highest point at Vienna, his dislike to playing in society was so ungovernable that he used completely to lose his temper in consequence; and would often come to see me in the most melancholy mood, complaining that play he must, although he felt the blood tingling in his fingers. By degrees I used to draw him into a conversation of a more cheerful tendency, and always succeeded in ultimately pacifying him. This object attained I used to drop all discourse, sit down to my writing-desk, and thus oblige Beethoven to take the chair next to me, for the purpose of further conversation—that chair being the one used at the piano. The vicinity of the instrument soon led him to strike some chords at random, whence sprung the most beautiful melodies. Oh! why did I not more fully understand him! Wishing to possess a manuscript of his, I more than once put before him on the desk some music-paper, seemingly without intention; it was always filled, but when he had done this, he folded it and put it into his pocket, leaving me to laugh at my own miscalculation. He never permitted me to say much, if anything, about his playing on these occasions, and always went away an altered being, ready to come back to me. His antipathy to playing in company, however, remained unshaken, and was frequently the cause of the greatest quarrels between him and his friends and patrons.
Haydn had been anxious that Beethoven should write on the titles of his early works "pupil of Haydn;" to this Beethoven objected, saying, that although he had received some instructions from Haydn, yet he had never learnt anything of him. Beethoven during his first stay at Vienna had been Mozart's pupil for a short time, but used to complain of this great master never having played to him. Albrechtsberger gave him instructions in counterpoint, and Salieri in dramatic music. I was well acquainted with these three men; they all agreed in their regard for Beethoven, as well as in their opinion of his mode of learning. Each said Beethoven had always been so obstinate and self-willed, that his own hard earned experience often had to teach him those things the study of which he would not hear of; this was more especially affirmed by Albrechtsberger and Salieri. The dry rules of the former, and the less important ones of the latter on dramatic composition (in the old Italian school), would not excite any interest in Beethoven; we may therefore be allowed to doubt Seyfried's "incontrovertible evidence" as given in his Studies, that "Beethoven devoted his two years' apprenticeship with Albrechtsberger with unremitting perseverance to his theoretical studies."
Ries says, in his Notizen, page 87, Beethoven had promised the three Sonatas for piano-forte solo (Op. 31), to Nägeli of Zurich, whilst his brother Carl (Caspar), who alas! always would interfere in his affairs, wanted to sell them to a Leipsic publisher. The brothers used to have frequent disputes on this subject, Beethoven being determined to keep his promise. At the time of sending off these Sonatas, Beethoven lived in Heiligenstadt. He was one day walking with his brother when a new quarrel arose between them on this subject, which actually ended in blows. The next day he gave me the Sonatas to be sent off to Zürich without delay; he had at the same time written to his brother, and sent the letter under cover to Stephen Breuning for perusal. I never heard a lecture given more forcibly and more good-naturedly than that which Beethoven here preached to his brother, on his conduct of the preceding day. He began by showing it to him in its true and most despicable light—then forgave him everything—but warned him that if he valued his own future happiness, he must alter his life and conduct altogether. His letter to Breuning on this occasion was no less beautiful than the above-mentioned.
As a proof of Beethoven's extraordinary faculties it may here be quoted, that, at the first rehearsal of his piano-forte Concerto in C major, which took place at his house, his piano proved to be half a tone lower than the wind instruments. He immediately desired these to tune in B instead of A, whilst he himself played his part in C sharp.
Ries gives us a curious instance of the manner in which the great master showed his originality. He says it is in the first movement of the Sinfonia eroica that Beethoven has vented his spleen upon the horn. Previous to the motivo returning in the second part, he has indicated it through the horn whilst the two violins hold on the chord of the second. Those who are not initiated into this secret of the score, must ever think the horn-player had miscounted, and made a wrong entry. At the first rehearsal of this Symphony, which was a stormy one, and where the horn-player came in correctly, I stood next to Beethoven, and, taking it for granted that the horn-player was wrong, I said "Listen to that stupid fellow—can he not count—it sounds wretchedly!" I think my ears narrowly escaped being boxed, and Beethoven did not for some time forgive me.[198] He played the same evening his piano-forte Quintett with wind instruments. Ram, the celebrated oboe-player of Munich, played also, and accompanied the Quintett. At one of the pauses in the last Allegro, previously to the subject coming on again, Beethoven of a sudden began to extemporize, taking the Rondo for his subject, thus amusing himself and his audience for some time. Not so his wind instruments; these lost their temper, particularly Mr. Ram, who was much incensed. It was indeed ludicrous to see these gentlemen, who were constantly expecting to recommence, putting up their instruments, and as quickly taking them down again. At length Beethoven was satisfied, and returned to the Rondo, the whole company being in raptures.