[140] Will it be believed in Vienna that Beethoven's Symphonies were assiduously practised from twelve to sixteen months, and the Ninth Symphony, with Schiller's Ode to Joy, full two years, in the Conservatoire of Paris, before they were performed in public? This is a fact. It is also a fact that on occasion of the first performance of this Ninth Symphony, in 1824, at the Kärnthner-Thoe theater, Beethoven could obtain no more than two rehearsals, because the orchestra was engaged in rehearsing a new Ballet. Remonstrances and entreaties, on the part of Beethoven, for a third rehearsal, which he considered necessary, proved unavailing. He received for definitive answer—"Two rehearsals will be quite sufficient." What will the professors of the Paris Conservatoire, and M. Habeneck, the leader, say to this?
| INSTRUMENTAL MUSIC. | |
| Ducats. | |
| Symphonies for the whole Orchestra | 60-80 |
| Overtures | 20-30 |
| FOR THE VIOLIN. | |
| Concertos for Violin, with Orchestral Accompaniments | 50 |
| Ottetts for various Instruments | 60 |
| Septettsnbsp; ditto | 60 |
| Sextetts ditto | 60 |
| Quintetts for 2 Violins, 2 Violas, and Violoncello | 50 |
| Quartetts for 2 Violins, Viola, and Violoncello | 40 |
| Terzetts for Violin, Viola, and Violoncello | 40 |
| FOR THE PIANO-FORTE. | |
| Concertos for the Piano-forte, with Orchestral Accompaniments | 60 |
| Fantasia, ditto | 30 |
| Rondo, ditto | 30 |
| Variations, ditto | 30 |
| Ottetts for Piano-forte, with Accompaniments of various Instruments | 50 |
| Septett ditto | 50 |
| Quintett ditto | 60 |
| Quartett ditto | 70 |
| Terzetts for Piano-forte, Viola, and Violoncello | 50 |
| Duetts for Piano-forte and Violin | 40 |
| Duetts for Piano-forte and Violoncello | 40 |
| Duo for Piano-forte, for four hands | 60 |
| Sonata (Grand) for Piano-forte, alone | 40 |
| Sonata for Piano-forte, solo | 30 |
| Fantasia for Piano-forte | 30 |
| Rondo for Piano-forte | 15 |
| Variations for Piano-forte, with Accompaniments | 10-20 |
| Variations for Piano-forte, solo | 10-20 |
| Six Fugues for Piano-forte | 30-40 |
| Divertimentos, Airs, Preludes, Pot-pourris, Bagatelles, Adagio, Andante, Toccatas, Capriccios, for Piano-forte, solo | 10-15 |
| VOCAL MUSIC. | |
| Grand Mass | 130 |
| Smaller Mass | 100 |
| Greater Oratorio | 300 |
| Smaller Oratorio | 200 |
| Graduale | 20 |
| Offertorium | 20 |
| Te Deum Laudamus | 50 |
| Requiem | 120 |
| Vocal Pieces with Orchestral Accompaniments | 20 |
| An Opera Seria | 300 |
| Six Songs, with Piano-forte Accompaniments | 20 |
| Six shorter ditto ditto | 12 |
| A Ballad | 15 |
Immediately underneath were the following remarks in Beethoven's handwriting:—"One might reserve a right occasionally to alter or to fix new prices. If the above are meant merely for Austria, or (at most) France, and England is left to me, they might be accepted. In regard to several items, one might retain the right of fixing the price oneself. As to the publication of the complete works, England and France should perhaps be reserved for the author. The sum to be paid by the publishers would be 10,000 florins, Vienna currency. As they wish also to treat for the publication of the complete works, such a contract would, in my opinion, be the best." ... "Perhaps stand out for London and Paris, and write to Schlesinger on the subject."
[142] See Beethoven's facsimile in the original German, of which the above is a translation. No. I.
[143] I remember, after having been for some time resident in England, in the course of a conversation with Beethoven, at his house in Vienna (in November, 1823), asking him in writing (then the only mode of communication with him), "How is the Archduke Rudolph?" He answered abruptly, "He is quietly tending his sheep at Olmütz" (Er hütet seine Schafe in Olmütz)—an allusion to the Archduke's Cardinalship.
The same conversation was remarkably interesting to me, as affording me many proofs of the extreme interest Beethoven took in the diffusion of his works in England, and the fondness with which he cherished the idea of himself directing their performance and witnessing their popularity in that country. He asked me many minute questions about the state of the orchestras, and the organization of the different musical societies of London.—Ed.
[144] With respect to most of the arrangements of Beethoven's works for two or four hands, especially his Symphonies, it is curious to imagine the destruction which the great master would have dealt among them, had he lived to see them. He would have waged war against them with fire and sword, and none would have been spared except those of Watts and Hummel. These Beethoven pronounced to be the best pianoforte arrangements of his works. As to the other arrangers, one of them has copied half of the score, and by this means burdened the performer with difficulties, which, on the pianoforte, owing to the homogeneous tone of the instrument, are useless, and frequently undistinguishable, whilst they obstruct the free flow of the melody, and, by fatiguing both the eyes and fingers of the player, render him incapable of following the spirit and soul of the music. Another of such arrangers, or, to speak more correctly, derangers, deserves to have his knuckles rapped for the liberty he has taken in making essential omissions and additions, with the view of improving Beethoven's music. M. Simrock would render a gratifying tribute to the memory of Beethoven, by engaging M. Watts to arrange all the Symphonies. By his arrangement of the fourth and sixth Symphonies, Watts has shown that he is more capable than any other of executing that difficult task in a spirit congenial with the composer's intention.
[145] Beethoven did not receive Rossini, though the latter called on him no less than four times. I shall make no comment on this fact, further than to observe that I wish Beethoven had not thus acted.
[146] The resolution thus hesitatingly formed. An effort of inspiration. "Must it be?" "It must be!"