Mr. Tobias Haslinger, while a partner in the house of Steiner and Co., music-publishers (of which he is now sole proprietor), undertook to produce a calligraphic copy of all Beethoven's works. After a number of the works already printed had been so copied, Beethoven received intelligence of the circumstance; and though the expensive undertaking of Mr. Haslinger was represented to him as a mercantile speculation, which, however, according to his statement, it was not intended to be, the composer was perfectly indifferent, since he could not have raised any reasonable objection, let the purpose of the enterprise be what it might. Now, the letter from Vienna in the "Journal des Débats" asserts that Beethoven had previously revised and corrected, and, "in fact, put the finishing hand" to all his works for the benefit of this calligraphic copy: this assertion must be contradicted. At the time that Beethoven heard what Mr. Haslinger was about, he was not on good terms with the above-mentioned house, neither of course with Mr. Haslinger himself; and soon afterwards followed the rupture mentioned in the Third Period, because Beethoven would not subscribe to the scale of prices in Mr. Haslinger's hand-writing. By such inaccurate statements sent forth to the world, not without some object, as I suppose, I am induced to subjoin that list of prices.[141] From the remarks annexed, in Beethoven's own handwriting, it will be seen that, just at this time (1821 and 1822), the above-mentioned publishers were in treaty with Beethoven respecting an edition of his complete works. Another Vienna house was likewise treating with him at the same time for the same purpose. How, then, could Beethoven have put a finishing hand to his works for the benefit of that calligraphic copy, since he himself projected an edition of them, and had so many important points not yet settled in his own mind to decide upon? And though he may have subsequently corrected a few wrong notes (of which there are unluckily too many in his works) for Mr. Haslinger's undertaking, this cannot by any means be called "putting the finishing hand to a work." It were indeed to be wished that Beethoven had done so in this instance, and that his intentions were to be found there. How many and what great works has Beethoven written after the rupture with that house, which have been introduced into the calligraphic copy! Is it to be supposed that he put the finishing hand to these also for the benefit of that undertaking? If so, look, above all, at the Quartett No. 13, and others of the latest Quartetts, and discover if you can the remarks and explanations to them which Beethoven sent to Prince Nicholas von Galitzen, to St. Petersburg (as I have mentioned at pp. 34-36 of the present volume), and which he designed to append in a more explicit form to a second edition, in order to render those works more intelligible; and then those "hieroglyphics," as they are called, will be all at once deciphered for the whole world, and bright sunshine pervade them, as it does his Quartett No. 1.
When Beethoven was informed that Mr. Haslinger was in treaty with the Archduke Rudolph for the sale of the calligraphic works, and that the price demanded for them was said (if I recollect rightly) to be 40,000 florins—the "Journal des Débats" says that they cost the Archduke upwards of 90,000 florins (223,000 francs)—the great master was again indifferent, and merely muttered to himself something about "a poor devil," and that, "such he was and such he should ever remain while others contrived to suck out his marrow and fatten upon it." But I was accustomed to such exclamations, or freaks of fancy: they had nothing alarming, but much that grieved; for when the beloved friend had vented his spleen in this manner, he would take up the pen and again fall to writing what he used punningly to call Noten in Nöthen—notes in emergency.
II.
CHARACTERISTIC TRAITS AND PECULIARITIES OF BEETHOVEN.
Beethoven's Religious Principles—His Dislike of giving Lessons—His Frankness, and, at the same time, Dexterity in evading Questions—Vindication of him from the charge of Discourtesy to Brother Artists—Proofs that though a rigid, he was a just Critic—Kind Encouragement afforded by him to Professional Merit—His modest Appreciation of Himself—His Extempore Playing—His Every-day Occupations—Propensity for Dabbling in Water—Pension—Certificates—Beethoven erroneously compared with Jean Paul Richter—Mortifying Trick played by him at the instigation of a Friend—Motivo of a Movement in one of his Quartetts—His Peculiar Habits in Eating and Drinking—Extent of his Knowledge of Languages—Comments on Statements of M. von Seyfried relative to Beethoven's domestic Habits—Spurious MSS. attributed to him—His Person—Portraits of him.
BEETHOVEN was educated in the Catholic religion; and that he was truly religious, the whole tenor of his life sufficiently proves. It was, however, a remarkable peculiarity in his character that he never conversed on religion, or expressed any opinion on the creeds of different Christian sects. If my
Fac-simile of Beethoven's Hand-writing. Published by Henry Colburn 13 Great Marlborough Street 1841
observation entitles me to form an opinion on the subject, I should say be inclined to Deism; in so far as that term may be understood to imply natural religion. He had written with his own hand two inscriptions, said to be taken from a temple of Isis. These inscriptions, which were framed, and for many years constantly lay before him on his writing-table, were as follows:—
I. "I am that which is.—I am all that is, all that was, and all that shall be.—No mortal man hath my veil uplifted!"