Beethoven, a character study; together with Wagner's indebtedness to Beethoven

by George Alexander Fischer

The nervous strain on his friends in witnessing this struggle between life and death, in which but the one issue was possible, must have been great. It was, no doubt, a relief to Schindler and Von Breuning to leave the master in Hüttenbrenner's charge on the afternoon of the 26th of March, and go to Wahring in order to secure a burial-place. While on this necessary errand, a terrific storm arose, which prevented their return until night. Meanwhile, Hüttenbrenner, left alone with the master, endeavored to ease his position by sustaining his head, holding it up with his right arm. His breathing had been growing perceptibly weaker, carrying the conviction that the end was near. The storm was of unusual severity, covering the glacis with snow and sleet. The situation of the building was such that it was exposed to the full fury of the tempest. No sign was given by the master that he was conscious of this commotion of the elements. With the subsidence of the storm at dusk, the watcher was startled by a flash of lightning, which illumined everything. This was succeeded by a terrific peal of thunder which penetrated even Beethoven's ears. Startled into consciousness by the unusual event, the dying man suddenly raised his head from Hüttenbrenner's embrace, threw out his right arm with the fist doubled, remained in this position a moment as if in defiance, and fell back dead.

The two friends returned some hours after all was over. The master died at a quarter before six o'clock on the evening of March 26, 1826. He was in his fifty-seventh year.

The funeral took place on March 29 at 3 P.M. from the church of the Minorites and was attended by many of the most prominent people of the city. Eight musicians bore the coffin from the house to the church, while thirty-two torch-bearers followed it, among the number being Czerny and Schubert. This was followed by a choir of sixteen male singers, and four trombones, which alternated in singing and playing. The music consisted of two equali composed by Beethoven many years before, arranged for this occasion by Seyfried, to the words of the Miserere and Amplius.

Notwithstanding the immense concourse of people assembled at the obsequies, estimated at twenty thousand, there was but one relative to occupy the position of mourner, and that was Johann.

On April 3, Mozart's Requiem was sung at the church of the Augustines, and shortly thereafter, Cherubini's Requiem was sung for him at the Karlskirche.

The magnificence of his funeral, when compared with his simple mode of life, calls to mind the great contrasts which he was always producing in his music. Equally great contrasts had always come up in his life. Living in the proudest most exclusive and bigoted monarchy in Europe, at a time when feudal authority had not yet been entirely abolished, he held himself to be as good or better than Emperor or Cardinal. On receiving a request one morning from the Empress of Austria to call on her, he sent back word that he would be busy all that day, but would endeavor to call on the following day. There is no record of his having gone at all. His unjustifiable conduct toward the Imperial family, while at Töplitz with Goethe, has been touched on in a previous chapter. Frimmel states that something similar occurred at Baden, but does not give his authority. Beethoven arraigned the Judiciary, even when writing conciliatory letters to the judges. In his letters to the different magistrates during the litigation over his nephew, he is often satirical and sarcastic in spite of himself. His criticisms of other judges, his references to the manner in which justice is administered in Austria, illustrate his temerity and independence. His scorn of the King of Saxony, on account of being dilatory in paying the subscription for the Grand Mass, was pronounced. He alludes to him as "the poor Dresdener" in his letters, and he even went so far as to talk about suing him when the payment was still longer withheld.[F] All this from a man who at times did not have a decent coat to wear, or a second pair of shoes; who sometimes accepted advances from his housekeeper for the necessaries of life. His life was so simple and circumscribed that he never saw the ocean, or a snow-covered mountain, although living within sight of the foothills of the Alps. He never returned to his native city though living not a great distance from it.

[F] Kalischer. Neue Beethovenbriefe. Berlin, 1902.

The immediate cause of death, as demonstrated by the post-mortem held the day after his decease, was cirrhosis of the liver, the dropsy, of which Schindler makes such frequent mention, being an outcome of, and connected with, the liver trouble. The organ showed every indication of chronic disease. It was greatly shrunken, its very texture being changed into a hard substance. That alcoholism is the commonest cause of cirrhosis is well known, but in Beethoven's case some other cause for the disease must be found. He was in the habit of taking wine with his meals, a practice so common in Vienna at that time that not to have done so would have been regarded as an eccentricity, but he never indulged in it to excess, except possibly on a few occasions when in the company of Holz. It can hardly be brought about by the use of wines, but is produced by the inordinate use of spirituous liquors, something for which Beethoven did not care. Cirrhosis was probably the cause of his father's death, as he was a confirmed inebriate; but this cannot be connected with the cirrhosis of the son; the disease is not transmissible.

Beethoven's deafness probably began with a "cold in the head" which was neglected. The inflammatory process then extended to the Eustachian tubes. When it reached this point it was considered out of the reach of treatment in his time, and for long after. Even in our own time, in the light of advanced medical science, such a condition is serious and is not always amenable to treatment, some impairment of the hearing frequently occurring even with the best of care and under conditions precluding the thought of a congenital tendency. The difficulty as revealed by the post-mortem, lay in a thickening of the membrane of the Eustachian tubes. The office of these tubes is to supply air to the cavity on the inner side of the drum-membrane, known as the middle ear. As is well known, a passage exists from the outer ear to the drum. The Eustachian tubes connect the middle ear with the upper portion of the throat from whence the air supply to the middle ear is obtained. We cannot imagine a drum to be such unless there is air on both sides of the membrane. Exhaust the air of an ordinary drum, and its resonance would be gone. A similar condition obtained with Beethoven. With the closure of the Eustachian tubes the air supply to the middle ear was cut off; the air in the cavity finally became absorbed, and a retraction and thickening of the drum-membrane with consequent inability to transmit sound vibrations followed.

The hypothesis of heredity, sometimes brought forward to account for his deafness, would have more weight had the lesion shown itself in the case of either of his other brothers. As it is, there is no hint to be found of even a tendency to deafness in any other of the Beethovens, whether Johann, Karl, or the nephew. In any event a congenital tendency of this kind would have been more likely to develop itself in Karl, the weakling, than in the sturdy Ludwig.