Beethoven's Letters 1790-1826, Volume 2 by Ludwig van Beethoven (cool books to read txt) π
With respect to his playing with you, when he has finally acquired the proper mode of fingering, and plays in right time, and gives the notes with tolerable correctness, you must only then first direct his attention to the mode of execution; and when he is sufficiently advanced, do not stop his playing on account of little mistakes, but only point them out at the end of the piece. Although I have myself given very little instruction, I have always followed this system, which quickly forms a musician; and this is, after all, one of the first objects of art, and less fatiguing both to master and scholar. In certain passages, like the following,--
[Music: Treble clef, sixteenth notes.]
I wish all the f
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I have this moment heard that you are in a position I really never suspected; you might certainly place confidence in me, and point out how matters could be made better for you (without any pretensions to patronage on my part). As soon as I have a moment to myself, I must speak to you. Rest assured that I highly value you, and am prepared to prove this at any moment by deeds.
Yours, with sincere esteem,
L. VAN BEETHOVEN.
[Footnote 1: Zellner, in his BlΓ€tter fΓΌr Musik, relates what follows on Czerny's own authority:--In 1818 Czerny was requested by Beethoven in a letter (which he presented some years ago to Cocks, the London music publisher) to play at one of his last concerts in the large Redoutensaal, his E flat major Concerto, Op. 73. Czerny answered, in accordance with the truth, that having gained his livelihood entirely for many years past by giving lessons on the piano, for more than twelve hours daily, he had so completely laid aside his pianoforte playing, that he could not venture to attempt playing the concerto properly within the course of a few days (which Beethoven desired). On which he received, in the above letter, a touching proof of Beethoven's sympathy. He also learned subsequently that Beethoven had exerted himself to procure him a permanent situation.]
256.TO F. RIES,--LONDON.
Vienna, March 5, 1818.
MY DEAR RIES,--
In spite of my wishes it was impossible for me to go to London this year [see No. 236]. I beg you will apprise the Philharmonic Society that my feeble health prevented my coming; I trust, however, I shall be entirely restored this spring, so that in the autumn I may avail myself of their offers and fulfil all their conditions.
Pray request Neate, in my name, to make no public use of the various works of mine that he has in his hands, at least not until I come. Whatever he may have to say for himself, I have cause to complain of him.
Potter[1] called on me several times; he seems to be a worthy man, and to have a talent for composition. My wish and hope for you is that your circumstances may daily improve. I cannot, alas! say that such is the case with my own.... I cannot bear to see others want, I must give; you may therefore believe what a loser I am by this affair. I do beg that you will write to me soon. If possible I shall try to get away from this earlier, in the hope of escaping utter ruin, in which case I shall arrive in London by the winter at latest. I know that you will assist an unfortunate friend. If it had only been in my power, and had I not been chained to this place, as I always have been, by circumstances, I certainly would have done far more for you.
Farewell; remember me to Neate, Smart, and Cramer. Although I hear that the latter is a counter subject both to you and to myself, still I rather understand how to manage people of that kind; so notwithstanding all this we shall yet succeed in producing an agreeable harmony in London. I embrace you from my heart. Your friend,
L. VAN BEETHOVEN.
Many handsome compliments to your charming, (and as I hear) handsome wife.
[Footnote 1: Schindler, in his Biography (Vol. II. 254), states that Cipriani Potter came to Vienna in 1817.]
257.TO THE RECHNUNGSRATH, VINCENZ HAUSCHKA.[1]
1818.
First and foremost member of our society, and grand cross of the violon--cello! You wish for an heroic subject, whereas I have none but a spiritual one! I am contented; still, I think an infusion of the spiritual would be quite appropriate in such a mass. I have no objections to H. v. Bernard, but you must pay him; I do not speak of myself. As you call yourselves "Friends of Music," it is only natural that you should expect a great deal to be done on the score of friendship.
Now farewell, my good Hauschka! As for myself, I wander about here with music paper, among the hills and dales and valleys, and scribble a great deal to get my daily bread; for I have brought things to such a pass in this mighty and ignominious land of the Goths and Vandals, that in order to gain time for a great composition, I must always previously scrawl away a good deal for the sake of money, to enable me to complete an important work.
However, my health is much improved, and if the matter is urgent, I can do as you wish now.
In haste, your friend,
BEETHOVEN.
[Footnote 1: Hauschka was at that time on the committee, and agent for the "Friends to Music" who commissioned Beethoven to write an Oratorio in 1815. Schindler is of opinion that the repeated performance of the AbbΓ© Stadler's heroic Oratorio, Die Befreiung von Jerusalem, was the cause of the Society in 1818 bespeaking, through Hauschka, "An oratorio of the heroic order."]
258.TO THE ARCHDUKE RUDOLPH.
1819.
I have the honor to send the masterly variations[1] of Y.R.H. by the copyist Schlemmer, and to-morrow I shall come in person to wait upon Y.R.H., and much rejoice at being able to serve as a companion to my illustrious pupil on the path of fame.
[K.]
[Footnote 1: The letters 258 and 259, allude to the pianoforte variations composed by the Archduke Rudolph and dedicated to his instructor.]
259.TO THE ARCHDUKE RUDOLPH.
Jan. 1, 1819.
All that can be comprehended in one wish, or individually named,--health, happiness, and prosperity,--all are included in the prayer I offer up for Y.R.H. on this day. May the wish that I also form for myself be graciously accepted by Y.R.H., namely, that I may continue to enjoy the favor of Y.R.H. A dreadful occurrence[1] has lately taken place in my family, which for a long time stunned my senses, and to this must be ascribed my not having waited on Y.R.H., nor taken any notice of the masterly variations of my much-honored and illustrious pupil, and favorite of the Muses. The gratitude I feel for the surprise and the honor you have done me, I dare not venture to express either verbally or in writing, for I am too far beneath you, even if I could or wished ever so ardently to return like for like. May Heaven accept and listen with peculiar favor to my prayers for Y.R.H.'s health. In the course of a few days I trust I shall myself hear the masterpiece Y.R.H. has sent to me, and nothing will rejoice me more than to assist Y.R.H. as early as possible, in taking the place already prepared for you on Parnassus.
[K.]
[Footnote 1: The "dreadful occurrence" which took place in the end of 1818 in Beethoven's family cannot be discovered.]
260.TO RIES.
Vienna, April [March?] 30, 1819.
DEAR RIES,--
I am only now able to answer your letter of December 18th. Your sympathy does me good. It is impossible for me to go to London at present, being involved here in various ways; but God will, I trust, aid me, and enable me to visit London next winter, when I shall bring the new symphonies with me.
I every day expect the text for a new oratorio, which I am to write for our Musical Society here, and no doubt it will be of use to us in London also. Do what you can on my behalf, for I greatly need it. I should have been glad to receive any commission from the Philharmonic, but Neate's report of the all but failure of the three overtures vexed me much. Each in its own style not only pleased here, but those in E flat major and C major made a profound impression, so that the fate of those works at the Philharmonic is quite incomprehensible to me.
You have no doubt received the arrangement of the Quintet [Op. 104, see No. 238] and the Sonata [Op. 106]. See that both, especially the Quintet, be engraved without loss of time. There is no such hurry about the Sonata, though I should like it to appear within two or three months. Never having received the previous letter to which you allude, I had no scruple in disposing of both works here; but for Germany only. It will be at any rate three months before the Sonata appears here, but you must make haste with the Quintet. As soon as you forward me a check for the money, I will send an authority to the publisher, securing him the exclusive right to these works for England, Scotland, Ireland, France, &c., &c.
You shall receive by the next post the Tempi of the Sonata marked in accordance with Maelzel's metronome. Prince Paul Esterhazy's courier, De Smidt, took the Quintet and the Sonata with him. You shall also have my portrait by the next opportunity, as I understand that you really wish for it.
Farewell! Continue your regard for me,
Your friend,
BEETHOVEN.
All sorts of pretty compliments to your pretty wife!!! From me!!!!
261.TO RIES.
Vienna, April 16, 1819.
DEAR RIES,--
Here are the Tempi of the Sonata.
1st Allegro, Allegro (alone), erase the assai. Maelzel's metronome [picture of music] = 138.
2d movement, Scherzoso. Maelzel's metronome [picture of music] = 80.
3d movement, Maelzel's metronome [picture of music] = 92.
Observe that a previous bar is to be inserted here, namely:--
[picture of music]
4th movement, Introduzione--largo. Maelzel's metronome [picture of music] = 76.
5th and last movement, 3/4 time. Maelzel's metronome [picture of music] = 144.
[picture of music]
Pray forgive the confused way in which this is written. It would not surprise you if you knew my situation; you would rather marvel that I accomplish so much in spite of it. The Quintet can no longer be delayed, and must shortly appear; but not the Sonata, until I get an answer from you and the check, which I long to see. The name of the courier is De Smidt, by whom you will receive both the Quintet and Sonata. I beg you will give me an immediate answer. I will write more fully next time.
In haste, your
BEETHOVEN.
TO RIES.
April 19, 1819.
MY DEAR FRIEND,--
I ask your forgiveness a thousand times for the trouble I cause you. I cannot understand how it is that there are so many mistakes in the copying of the Sonata. This incorrectness no doubt proceeds from my no longer being able to keep a copyist of my own; circumstances have brought this about. May God send me more prosperity, till ---- is in a better position! This will not be for a whole year to come. It is really dreadful the turn affairs have taken, and the reduction of my salary, while no man can tell what the issue is to be till the aforesaid year has elapsed.
If the Sonata be not suitable for London, I could send another, or you might omit the Largo, and begin at once with the Fugue in the last movement, or the first movement, Adagio, and the third the Scherzo, the Largo, and the Allegro risoluto. I leave it to you to settle as you think best. This Sonata was written at a time of great pressure. It is hard to write for the sake of daily bread; and yet I have actually come to this!
We can correspond again about my visit to London. To be rescued from this wretched and miserable condition is my only hope of deliverance, for as it is I can neither enjoy health, nor accomplish what I could do under more favorable auspices.
263.TO THE PHILHARMONIC SOCIETY IN LAIBACH.[1]
Vienna, May 4, 1819.
I fully appreciate the high compliment paid to me by the respected members of the Philharmonic Society, in acknowledgment of my poor musical deserts, by electing
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