FOOTNOTES:
[1] Delivered in the year 1824, in Carlsruhe, Darmstadt, Francfort, Mayence, Stuttgart, and Tübingen; they appeared in print in 1826.
[2] It was that of 1802.
[3] It must be obvious that, in this division, I do not mean to assert that Beethoven's mental development admits of the like limitation, or is tacitly comprehended under it. To pretend to fix precise limits to that would be a bold attempt, inasmuch as his works were not published in the order in which they were composed. I shall recur to this subject in treating of the first period.
[4] At page 81 of his biographical particulars, Ries, in his account of the meeting of Beethoven and Steibelt at the house of Count Fries, where Steibelt performed a "studied Fantasia brillante on a theme from a Trio of Beethoven's," tells us, "This gave great offence to the admirers of Beethoven, as well as to that composer himself; he was next called to the piano to extemporize: he went in his usual, I might say, rude way, to the instrument, as though half-pushed towards it." But hold!—who could help being revolted also on reading this instance of Beethoven's rudeness from the pen of his pupil and friend, and reasoning thus:—
Rudeness is the highest degree of ill-breeding. If he, from his thirtieth to his thirty-fifth year, "usually behaved rudely," even in the higher circles—as we are told in the anecdote related by Ries, page 92—he was and must have been rude all his life, even though he had intercourse with an Archduke of Austria. At that period of life Beethoven had arrived when Ries was in Vienna. What then could be alleged in excuse of Beethoven, if Ries were right? But how many of those friends and admirers of the illustrious deceased, who knew him longer and had opportunities of forming a more correct opinion of him than Ries, will solemnly protest against such a charge! Is it fair to publish to the world a momentary fit of ill-humour in any man, be he who he may, that it may serve as an authentic source for estimating his character? and especially in a man who belongs to remote posterity, who deserves to be recommended in so many respects to younger artists as a model worthy of imitation? Or, let me ask, is it right to drag before the tribunal of the public what has been said and done in unguarded moments among friends and acquaintance? That maxim is in general entirely false which says that "about great men anything and everything may be told: it can do them no harm." Without taking into account that this maxim is in itself very relative, the character of every man, without any reference to his mental qualities, is the point which, in a portraiture of him, should be treated with most tenderness, at the same time without derogating in the slightest degree from the truth.
[5] Dr. Wegeler published in consequence a copy of Beethoven's baptismal register, which is as follows:—
"Extract, Church Register, St. Remigii, at Bonn.
"Anno millesimo septingentesimo septuagesimo, die decima septima Decembris, baptizatus est Ludovicus, Domini Johannis van Beethoven et Helenae Keverichs, conjugum, filius legitimus: Patrini: Dominus Ludovicus van Beethoven, et Gertrudis Müllers, dicta Baums.
"Witness to the truth of the above extract,