Beethoven, a character study Part 10

VIENNA, _Aug. 30, 1826_.

I am happy to give my friend, Karl Holz, the testimonial he desires, namely,--that I consider him well qualified to write my biography if indeed, I may presume to think this will be desired. I place the utmost confidence in his faithfully transmitting to posterity what I have imparted to him for this purpose.

LUDWIG VAN BEETHOVEN.

Holz, however, was not equal to the requirements, and this duty was relegated to Schindler.

A curious change affected Beethoven in his later years on the subject of money. It was not avarice, that "good old-gentlemanly vice" of Byron's which influenced him, but it resembled it at times. With his nephew as the inciting cause, money, to which he had hitherto been indifferent, now a.s.sumed a new value to him. This is evidenced by absurd economies (alternated it is true by occasional extravagances), which are a feature of this time. The diminution of his pension, the nature of the compositions of these years from which for the most part no money was available, the cessation of his teaching (Von Frimmel mentions a pupil, Hirsch, who had a few lessons from him in 1817, which was probably the last of Beethoven's sporadic attempts in this direction, as his deafness must have made teaching extremely difficult), were all factors which rendered money a scarce article with him. In the same ratio in which his income had been diminished, his expenses were increased by the maintenance and education of his nephew, which in large part was borne by Beethoven.

This new estimate of the value of money was strengthened by the conviction that Karl would never do anything for himself, and that provision must be made for his future. To this must be attributed his solicitude for money which is constantly in evidence in his letters to his friends, as well as to his publishers, in which latter the disposition to drive a good bargain comes to the fore now for the first time. His letters to Ries are full of the subject of making money. "Ware ich nicht noch immer der arme Beethoven," he says with unconscious humor, in one of the letters. "If I could but get to London, what would I not write for the Philharmonic Society. If it please G.o.d to restore my health, which is already improved, I may yet avail myself of the several propositions made me, not only from Europe, but even North America, and thus my finances might again prosper."

His nave reference to this country[D] refers to the offer made him by the Handel and Haydn Society of Boston for an oratorio, the text of which was to be furnished by them. His work on the Ninth Symphony prevented him from accepting it, but it is something that will always redound to the credit of the society. That the critical faculty should, already at that time, have been sufficiently well developed in this country as to lead to such a commission, augurs well for its future art-history. While one portion were engaged in subduing the wilderness, fighting Indians, extending the frontier, others were already reaching out for the highest and best in art and literature.[E] It is a pleasant reflection that this country is no longer the terra incognita in musical matters that it was in Beethoven's time. The ready recognition extended Wagner from the first here, has, no doubt, helped to bring this about.

[D] When writing this letter Beethoven could have had no prevision that in this aboriginal North America, in a little village called Natick, there was then living a five-year-old boy, answering to the name of Alexander W. Thayer, who was eventually to furnish a biography of the master, so painstaking, exact and voluminous, that it is unique in its cla.s.s. The Beethoven biography was Thayer's life-work, to which he gladly sacrificed his means as well, and was then only brought down to the year 1816. Thayer's name will always be a.s.sociated with that of Beethoven, it is such a record-making work. It is published only in German at this writing (1904), but an English translation is promised on completion of the second edition, one volume of which has appeared in 1902. Mr. Thayer died in 1897.

[E] That Beethoven's genius had at an early date impressed itself on the minds of Americans, was commented on by Margaret Fuller in 1841. She says:

"It is observable as an earnest of the great future which opens for this country, that such a genius (Beethoven) is so easily and so much appreciated here, by those who have not gone through the steps that prepared the way for him in Europe. He is felt because he expressed in full tones the thoughts that lie at the heart of our own existence, though we have not found means to stammer them as yet."

Meanwhile Ries, in London, was making active propaganda for him, with the result that an offer had come to him from Charles Neate asking him to come to London with a symphony and a concerto for the Philharmonic Society. Neate was a great admirer of Beethoven. He had spent eight months in Vienna some years previously, and the two became good friends during this sojourn. Three hundred guineas, and a benefit concert in which five hundred pounds more was to be guaranteed him, was the inducement held out for coming. This large sum tempted him strongly, placing him, so to speak, between two fires. The character of his nephew was such that he could not be left behind, while his education would be interrupted if he took him along. His entries in his journal show with what dread and apprehension he faced the ordeal of going among strangers. The project never would have been considered but for his desire to provide for Karl's future. The journey was never undertaken, but the project was never abandoned. It occupied his thoughts even in his last illness.

The scores of the Ma.s.s and Symphony were sold to Messrs. Schott of Mayence, one thousand florins having been obtained for the Ma.s.s, and six hundred for the Symphony. This put him in easy circ.u.mstances for a while, although the money question was a source of anxiety to him, more or less, for the remainder of his life. The ten thousand florins invested in Bank of Austria shares in 1815 was almost intact. He had drawn on it once or twice when matters had come to an extremity with him, but to touch it in any other case seemed to him like betraying a trust, since it had been set aside as a provision for his nephew. Just before the testimonial concert, he was at times absolutely without funds, his housekeeper being occasionally required to advance money from her savings to tide him over until a windfall should happen. The proceeds from the seven subscriptions to the Ma.s.s in D, amounting to three hundred and fifty ducats (about eight hundred dollars) helped him out to some extent, and something must have been coming in all the while from his previous publications. With good management there would have been sufficient for a man of his simple requirements, but in nothing was he so deficient as in business ability, or the faculty of looking after his worldly concerns. He was probably cheated right and left in his household matters.

CHAPTER XVI

THE DAY'S TRIALS

Those who are furthest removed from us really believe that we are const.i.tuted just like themselves, for they understand exactly so much of us as we have in common with them, but they do not know how little, how infinitesimally little this is.

--WAGNER: _Letter to Liszt_.

Beethoven was in no sense a hero to his servants. In their eyes he was not the great artist, whose achievement was to go ringing down the ages; he was simply a crank or madman, who did not know his own mind half the time, from whom abuse was as likely to be predicated as gratuities, who could be ridiculed, neglected, circ.u.mvented with impunity. When the dereliction became glaring enough to arrest his attention, he would deliver himself of a volley of abuse which sometimes had to be made good by presents of money. At other times, he desired nothing so much as to be left alone.

That he found the world a more difficult problem than ever in these later years, goes without saying. "Have you been patient with every one to-day?" he asks himself in one of the note-books of this period, indicating the dawn of a perception that fate is too much for him, that it can be defied no longer, but rather must be propitiated. Had he answered his question, it would no doubt have been in the negative; but this att.i.tude, so new to him, is significant. It comes up also in his letters to Zmeskall, in which he speaks of his patience in enduring the insolence of a butler, who had been sent him by Zmeskall.

Complaints about servants appear frequently in his correspondence.

Peppe, the "elephant-footed," and Nanny, who seems to have had a particular faculty for making trouble, are specially in evidence. "I have endured much from N. (Nanny) to-day," he writes in a letter to his good friend Madame Streicher, who was very helpful to him in his domestic matters. On one occasion, when her conduct became unbearable, he threw books at her head. Strangely, this method of disciplining the refractory Nanny produced better results than could have been expected.

He reports soon after to Madame Streicher, "Miss Nanny is a changed creature since I threw the half dozen books at her head. Possibly, by chance some of their contents may have entered her brain, or her bad heart. At all events we now have a repentant deceiver."

In another letter of this time he writes to the same lady, "Yesterday morning the devilry began again, but I made short work of it, and threw the heavy settle at B (another servant), after which we had peace for the remainder of the day." "Come Friday or Sunday," he writes Holz.

"Better come on Friday, as Satanas in the kitchen is more endurable on that day." This advice to come on Friday when purposing to dine with him, is repeated in a subsequent letter to Holz. "If I could but rid myself of these _canaille_," he writes to another person, when complaining of the hostility and insolence of his servants.

That his own mode of life helped largely to bring about this state of things, did not make it any easier to bear. As stated, system was out of the question in this household. There was no regular time for meals, often no meals were thought of by the master while occupied with his work. When hungry, if nothing were forthcoming at home, he sought a restaurant. Careless in general as regards his food, abstemious to a degree in this respect, he was particular only on one matter, his coffee. He delighted in making it himself, often counting the beans that were required for each cup.

"My house resembles very much a s.h.i.+pwreck" is a remark attributed to him by Nohl. Even under favoring conditions, discipline was not to be expected, but matters were further complicated by Karl's mother, who made a practice of bribing the servants to get information about the young man. There is no doubt her influence tended to increase the discomfort and disorder that would have existed in any event. "Some devils of people have again played me such a trick that it is almost impossible for me to mix with human beings any more," he said in a letter to Madame Streicher, which remark Mr. Kalischer (_Neue Beethovenbriefe_, Berlin, 1902), attributes to intrigues against him by his sister-in-law.

To ill.u.s.trate the slight regard his servants had for Beethoven and their absolute ignorance of the value of his work, an incident related by Schindler about the loss of the ma.n.u.script of the Kyrie of the Ma.s.s in D is in point. On reaching Dobling in 1821 on his annual summer migration, he missed this work and the most diligent search failed to bring it to light. Finally the cook produced it; she had used the separate sheets for wrapping kitchen utensils. Some of them were torn, but no part was lost. No copy had yet been made, and its loss would have been irreparable.

The difficulties which he experienced with the world in general existed with his copyists and engravers to an exaggerated degree as may be supposed, since proofreading was a matter on which he was extremely particular. He was apt to make unreasonable demands on them, not understanding human nature. He wanted them to work quickly and accurately and they were very often slow and careless; they tried his patience more than his servants did. A little deftness on his part when in contact with them, would have made things easier all around. As it was, they received little consideration from him, and gave but little in return. He was so deeply interested in his compositions that he frequently recalled them after they were in the engraver's hands, in order to make alterations and additions. The Sonata, opus 111 was withdrawn twice, after the engraver had actually begun work on it. It had been sold to Diabelli, who finally refused to return it again, as the engraver's work in each case was thrown away. This called out a sarcastic letter from Beethoven to Schindler, in which he refers to Diabelli as an arch-churl (_Erzflegel_), and threatens him (Diabelli), if he is not more amenable.

"I have pa.s.sed the forenoon to-day, and all yesterday afternoon in correcting these two pieces and am actually hoa.r.s.e with stamping and swearing," he wrote the copyist in reference to the A minor Quartet.

Elsewhere he complains about the carelessness of the publishers of his earlier quartets, which are "full of mistakes and errata great and small. They swarm like fish in the sea, innumerable."

When referring to the testimonial concert, allusion was made to the enormous labor involved in copying out all the parts required for the occasion, in which over one hundred persons partic.i.p.ated. To examine and correct each copy before placing it in the hands of the performers was in itself no slight task. The labor of making the seven subscription copies of the Ma.s.s, was probably a still greater one. In these days of cheap publications, one can hardly form an estimate of what it really meant. Many months elapsed after the Ma.s.s was completed, before a clean copy could be gotten for the Archduke even.

No doubt the copyists often misunderstood the master's instructions, always given in writing in his later years. He was so careless with his handwriting that some of his letters are undecipherable in part, to this day. Schindler, with good common-sense made a practice of transcribing Beethoven's words on the back of any letter received from him before filing it away. The master's extraordinary carefulness in proof-reading has already been mentioned. This was to him a matter of the utmost importance, second to none. Press of work, illness even, was not allowed to interfere with the careful revision of his work.

He might write about patience in his note book, but it was exercised very little when dealing with his copyists. There were times in this connection in which the situation became so strained that they refused to work for him. In one such instance a man, Wolanck by name, returned the ma.n.u.script which the master had sent him, writing him at the same time an impertinent letter. This copyist was evidently of a literary turn, with a talent for satire. He begins by begging to be permitted to express his grat.i.tude for the honor which Beethoven has done him in being allowed to drudge for him, but states that he wants no more of it.

He then proceeds to philosophize on the situation, saying that the dissonances which have marked their intercourse in the past have been regarded by him with amused toleration. "Are there not" asks this Junius, "in the ideal world of tones many dissonances? Why should these not also exist in the actual world?" In conclusion he ventures the opinion that if Mozart or Haydn had served as copyist for Beethoven, a fate similar to his own would have befallen them.

A wild Berserker rage took possession of Beethoven on receipt of this letter which he appeased characteristically by writing all sorts of sarcastic comments over the sheet, and by inventing compound invectives to suit the case. He heavily criss-crossed the whole letter, and across it in heavy lines wrote, "Dummer Kerl" (foolish fellow), "Eselhafter Kerl" (asinine fellow), "Schreibsudler" (slovenly writer). On the edges at the right: "Mozart and Haydn you will do the honor not to mention"; at the left: "It was decided yesterday, and even before, that you were not to write for me any more." On another spot he writes: "correct your blunders that occur through your fatuity, presumption, ignorance and foolishness." (Unwissenheit, ubermuth, Eigendunkel, und Dummheit). "That will become you better than to try to teach me."

In better vein is a letter from Beethoven to the copyist Rampel, who had worked for him during a period of many years. He had Beethoven's favor more than any other copyist, on account of a peculiar faculty he possessed for deciphering the master's handwriting.

_Bestes Ramperl,--

Komme um morgen fruh. Gehe aber zum Teufel mit deinem Gnadiger Herr. Gott allein kann nur gnadig geheissen werden._

BEST RAMPEL,--

You can come to-morrow morning, but go to the devil with your "Gracious Sir," (Gnadiger Herr). G.o.d alone should be addressed as "Gracious Lord."

This letter was published in the Beethoven number of _Die Musik_, February, 1902.

CHAPTER XVII

LAST QUARTETS

Every extraordinary man has a certain mission, which he is called upon to accomplish. If he has fulfilled it he is no longer needed on earth, in the same form, and Providence uses him for something else. But as everything here below happens in a natural way, the daemons keep tripping him up until he falls at last. Thus it was with Napoleon, and many others. Mozart died in his thirty-sixth year. Raphael at the same age. Byron a little older. But all these had perfectly fulfilled their missions, and it was time for them to depart that others might still have something to do in a world made to last a long while.

--GOETHE, _Conversations with Eckermann_.

In the midst of these ironies of fate, this satyr-play of the nether forces with the master, in which he occupies at times so undignified a position, it is gratifying to note that the artist-life goes on apace.

In the last quartets which now come up for consideration, the labors of the tone-poet are brought to a close.

The quartet was a favorite musical form with the master. Here the more intimate side of his nature is revealed. A more personal relation is established between composer and audience than is the case in the other forms in which he worked. As we have seen, the quartet, in the time of which we write, was universally in use at informal gatherings for the delectation of friends in the privacy of the home, and was not intended for concert use. The stateliness which characterizes the large symphonic forms is absent in chamber-music, but it has qualities of its own which we value as much.

The last quartets owe their existence to Prince Galitzin, a Russian n.o.bleman, who had spent some time in Vienna in 1805, and became acquainted with Beethoven at the house of the Russian Amba.s.sador, Count Rasoumowsky, for whom it will be remembered Beethoven composed three quartets, opus 59. In November of 1822 the Prince wrote Beethoven in the most flattering terms, asking him to compose three quartets at his own price, which were to be dedicated to him. The master accepted the commission gladly, fixing the modest sum of one hundred and fifty ducats (about $330) for the three, reserving, however, the right to sell the quartets to a publisher. Prince Galitzin was then living in state in St.

Petersburg. His wife was a fine pianist, he himself a first-rate performer on the cello. They occupied a prominent position in the musical life of the city. The Prince was one of the original subscribers to the Ma.s.s in D, and has the credit of having brought about the first complete performance of this colossal work ever given.

When we consider the enormous expense of this undertaking, the copying of the many parts, as well as the sums paid for soloists, chorus and orchestra, most of which was probably borne by the Prince, and reflect that this is only an instance among many of his extravagant mode of living, it is not surprising to find that he became financially embarra.s.sed, and was unable to carry out in full his obligation to Beethoven as regards paying for these works.

The Oratorio, "The Victory of the Cross," which had already been begun, was laid aside in favor of the quartets; it was never resumed.

Notwithstanding his enthusiasm, work on the new commission made but slow progress. Ill health and preoccupation in his nephew's concerns took up much of his attention. Occasional sketches were made, but it was more than a year and a half before the first one was actually begun. It was outlined at Baden in the autumn of 1824, and finished on his return to Vienna. Mention is made of this quartet by the master in an interesting letter to Messrs. Schott of Mayence, who had bought the ma.s.s and symphony, and had also purchased the quartet, paying fifty ducats for it. Cordial relations had been established with these gentlemen, dating from the time of selling them the two great works just mentioned. Some of Beethoven's best letters are those written to his publishers. An extract from the letter above referred to follows: