55. “On the whole, the carrying out of several voices in strict relationship mutually hinders their progress.”
(Fall of 1812, in the Diary of 1812-18.)
56. “Few as are the claims which I make upon such things I shall still accept the dedication of your beautiful work with pleasure. You ask, however, that I also play the part of a critic, without thinking that I must myself submit to criticism! With Voltaire I believe that ‘a few fly-bites can not stop a spirited horse.’ In this respect I beg of you to follow my example. In order not to approach you surreptitiously, but openly as always, I say that in future works of the character you might give more heed to the individualization of the voices.”
(Vienna, May 10, 1826. To whom the letter was sent is not known, though
from the manner of address it is plain that he was of the nobility.)
57. “Your variations show talent, but I must fault you for having changed the theme. Why? What man loves must not be taken away from him;—moreover to do this is to make changes before variations.”
(Baden, July 6, 1804, to Wiedebein, a teacher of music in Brunswick.)
58. “I am not in the habit of rewriting my compositions. I never did it because I am profoundly convinced that every change of detail changes the character of the whole.”
(February 19, 1813, to George Thomson, who had requested some changes in
compositions submitted to him for publication.)
59. “One must not hold one’s self so divine as to be unwilling occasionally to make improvements in one’s creations.”
(March 4, 1809, to Breitkopf and Hartel, when indicating a few changes
which he wished to have made in the symphonies op. 67 and op. 68.)