To follow the fortunes of the posterity of great men is an interesting subject. From the researches of Dr. Vansca of Vienna, published in Die Musik (Berlin, March, 1902), it transpires that Karl married on July 16, 1832, a Miss Karoline Naska. Five children were born to them, as follows: Karoline, 1833; Marie, 1835; Ludwig, 1839 (named after his famous grand-uncle); Gabrielle, 1844, and Hermine, 1852. Ludwig, the only son, his military service over, married in 1865 Marie Nitche. To them a son was born on May 8, 1870, at Munich, and baptized Karl. Father and son, that is Ludwig and Karl 2d, were last heard from in 1889 in London, when the father applied for a passport to travel in various European countries. Ludwig's mother died in Vienna in 1891, at which time it was announced that the whereabouts of Ludwig and the son Karl were unknown. Efforts were then made to get news of the young Karl, who, if living, would have been a youth of twenty, but without avail, and the family are of the opinion that he died during his childhood. As far as can be ascertained at this writing the family of Beethoven on the male side is extinct.
Of the daughters of the master's nephew, Karoline and Marie married brothers, namely: Franz and Paul Weidinger. Gabrielle married a bank cashier named Robert Heimler. The youngest, Hermine, remained single. She graduated in 1889 from the conservatory at Vienna in piano and harmonium. Of the married daughters, only one, Marie, had children; a son and daughter. The only descendants of the Beethovens known to be living in 1891, are Karoline Weidinger, a widow, Gabrielle Heimler, and the son and daughter of Marie Weidinger. All these persons were at last accounts living in Vienna.
CHAPTER XI
METHODS OF COMPOSITION
A good painter should paint two things; man, and the thoughts of man's soul.
—Leonardo da Vinci.
eethoven usually had a definite idea before him when composing. The work progressed rapidly under such conditions. Often, however, on further consideration, a better idea would present itself in certain places on reading the work over, and these portions would have to be rewritten. He stated in this connection that he always had a picture in his mind when composing, which he aimed to reproduce in his work. "Ich habe immer ein Gemälde in meinen Gedanken wenn ich am componiren bin, und arbeite nach demselben" (Thayer). Sometimes this picture was shadowy and elusive, as his gropings in the sketch-books show. He would then apply himself to the task of fixing the idea, writing and rewriting, until it stood out clearly in accordance with the concept already formed in his mind.