Famous composers and their works, Vol. 2

by Unknown

The death of the first grandchild healed the breach between old Ludwig and Johann. The old man died in 1773, but his grandson Ludwig remembered him and preserved his portrait painted by Radoux to the day of his own death. Dressed in court costume and wrapped in a red cloak, with great and sparkling eyes, he made an indelible impression on the three-year-old boy, as on his neighbors, who respected and admired him. It was his father who first taught Ludwig the rudiments of his art. It is said, and the reports are unanimous, that when the boy was hardly four years old, he was obliged to practise for hours on the pianoforte, and was often urged by blows. He was soon put under the instruction of Tobias Pfeiffer, the tenor of a strolling company. Pfeiffer was a good musician and a man of unquenchable thirst. Johann and he would spend hours in the tavern; and Pfeiffer, suddenly remembering that his pupil had received no lesson that day, would return home, drag him from his bed, and keep him at the instrument until daybreak. Or, locked in a room, young Ludwig practised the violin, and he was kept there until he had finished the daily allotted task. At the primary school he learned to read, write, and reckon. Before he was thirteen, his father declared that his scholastic education was finished. This limited education was a source of mortification to Beethoven throughout his life, and no doubt influenced strongly his character. He spelled atrociously, he was never sure of the proper expression, and the washerwoman disputed angrily his addition and subtraction.

After the death of the grandfather poverty entered the house. The second-hand buyer became the warm friend of the family, and the household furniture fed Johann's appetite. In response to a singular petition of the tenor, a pension of sixty thalers was granted to the poor woman in the convent at Cologne, who died a few months after it was given to her. Beethoven's patient mother was always sewing and mending, and the baker at least was paid. Meanwhile Johann meditated over his cups the possibility of fortune gained by his son. Pfeiffer left Bonn. The boy took a few lessons of Van den Eeden. They were gratuitous; the teacher was old and infirm; and Neefe, who succeeded Van den Eeden, took charge of Ludwig and gave him his first instruction in composition. Neefe was an excellent musician. The son of a tailor, he first studied law, and gained the title of "Doctor" by his thesis "A father has no right to disinherit his son because the latter has turned opera-singer." Now Neefe left on record a description of Ludwig at the age of eleven, which was published in Cramer's Music Magazine. According to him Beethoven played the pianoforte with "energetic skill." He played "fluently" Bach's "Well-tempered Clavichord." "To encourage him he had nine variations which the child wrote on a march theme engraved at Mannheim. This young genius deserves a subsidy that he may travel. If he goes on as he has begun, he will certainly be a second Mozart." Years after, Beethoven acknowledged gladly his many obligations to this master. In 1782 Neefe went to Munster for a visit, and Ludwig, then eleven years and a half old, took his place at the organ. In the following year he was promoted to the position of maestro al cembalo, i.e., he assisted at operatic rehearsals and played the pianoforte at the performances. During these years, operas by Grétry, Piccini, Cimarosa, Guglielmi, Sácchini, Sarti, Monsigny, Gluck, and Mozart were given. According to the recollections of those who then knew him, he was sombre, melancholy. He did not enter into the sports of his age. Once a year he assisted in the celebration of the birthday of his mother. There was music, there was drinking, and there was eating; there was dancing in stockings, so that the neighbors might not be disturbed.

Beethoven's first authenticated likeness—a silhouette by Neesen, made between 1787 and 1789.

In 1783, Beethoven published the first three sonatas, dedicated to the Elector. A year after, he was named second-organist, through the intervention of Neefe and Count Salm, but "without appointments." Maximilian died in 1784, and Maximilian of Austria, the brother of Marie Antoinette, ruled in his stead. He at once began the work of reforming the court-music. In a record of the day, Johann is spoken of as a worn-out singer, "but he has been long in service and is very poor." Ludwig is referred to as a possible successor to Neefe, and they could secure him for about $60 a year. "He is poor, very young, and the son of a court musician." In July, 1784, Ludwig was awarded a salary of $60, although Neefe was not removed; and at the installation of the new Elector in 1785, the boy, in court dress with sword at side, was permitted to kiss the hands of his august master.

At that time Bonn was a sleepy town of about 10,000 inhabitants, who were chiefly priests and people of the court. There were no factories; there was no garrison, and the only soldiers were the body guard of the elector. The theatre was in a wing of the palace. Strolling companies tarried there for a season. Concerts, or "academies," as they were called, were given in a handsome hall. The musicians lived bunched together in a quarter of the town. Franz Ries, the violinist; the horn player, Simrock, the founder of the publishing house; the singing daughters of Salomon;—these worthy people were neighbors of the Beethovens. There were many skilled amateurs in society. The Elector himself was passionately fond of music; he played the viola and the pianoforte.

There is a story that in 1781, Ludwig made a concert tour in Holland, or at least played in Rotterdam, but, with this possible exception, he did not leave Bonn from his birth until the spring of 1787, and then he went to Vienna. The Elector probably paid the expenses, and he gave him a letter to Mozart. This great composer was apt to look askew at any infant phenomenon. He listened at first impatiently to the playing of Beethoven, but when the latter invented a fantasia on a given theme, Mozart said to the hearers, "Pay attention to this youngster; he will make a noise in the world, one of these days." He gave the boy a few lessons. There is a story that Beethoven also met the Emperor Joseph. His stay was cut short by lack of money and the news that his mother was dying. In July, Franz Ries paid her burial expenses. Johann kept on drinking, and his son, who was now the head of the house, rescued him occasionally from the hands of the police. In 1789 it was decreed that a portion of the father's salary should be paid to the son, and December 18, 1792, the unfortunate man died. The Elector, in a letter to Marshall Schall, pronounced this funeral oration: "Beethoven is dead; it is a serious loss to the duties on spirits."

Ludwig looked after the education of his brothers; Caspar learned music, and Johann was put under the Court Apothecary. And now he found devoted friends in Count Waldstein and the Breuning family. The widow von Breuning was a woman of society, accomplished and kind-hearted. She was one of the few people who had an influence over the actions of Beethoven, and her influence was no doubt strengthened by the sweetness of her daughter Eleonore. He gave Eleonore lessons, and she in turn acquainted him with the German poets, and Homer and Shakespeare. Was he in love with her? We know that he was of amorous temperament. Dr. Wegeler, Stephen von Breuning, Ries, Romberg, all bear witness that he was never without an object of passion in his heart. Mr. Thayer says that we have no proof that Beethoven loved her, but such affairs are not often matters for cross-examination and a jury. No doubt the susceptible young man was smitten deeply with every fair girl he met, and in the new-comer forgot the old flame. There was Miss Jeannette d'Honrath of Cologne; there was Miss Westerhold, whose eyes he remembered for forty years; nor must pretty Babette Koch be forgotten, the daughter of a tavern keeper, and afterward a Countess. And so he passed his days in music, conversation, and innocent pleasures. He went with the Elector to Mergentheim; at Aschaffenburg he played in friendly rivalry with the Abbé Sterkel. It was at Mergentheim that the modest and unassuming pianist touched hearts by his telling, suggestive, expressive improvisations; for so Chaplain Junker bore record. In 1792, Haydn passed through Bonn on his return from London to Vienna, and praised a cantata by Beethoven on the succession of Leopold II., and in November of the same year Ludwig left Bonn for ever. The Elector realized the extent of his genius, and gave him a small pension. The political condition of France affected the Rhenish town; there was panic, and in October there was a general exodus. His many friends bade Beethoven warm God-speed, and Count Waldstein in a letter prayed him to receive "through unbroken industry from the hands of Haydn the spirit of Mozart." Nearly twenty-two, he was known chiefly by the remarkable facility of his extempore playing, and the record of his compositions during the Bonn period is insignificant. At the age of twenty-three, Mozart was famous as a writer of operas, symphonies, cantatas, and masses, and his pieces were in number about three hundred.

BEETHOVEN.