Beethoven by George Alexander Fischer (reading in the dark .TXT) 📕

The alliance which followed Napoleon's marriage to the Austrian Archduchess did not have the good political results which Metternich expected from it. The war indemnity of fifteen millions of dollars, the cession of provinces whereby three and one half millions of people were lost to Austria, the reduction of the army to 150,000 men, exactions made by Napoleon at the time of the marriage, did not tend to make him popular. The alliance existed in name, not in sentiment. He was still regarded as the conqueror, not the ally. Austria had been lukewarm all along, and when she changed front in 1813, and joined the coalition against him, acting in concert with England, Russia and Prussia, the measure had the moral support of the nation. This was three years after his marriage to the Archduchess.

The news of the battle of Vittoria reached Vienna on July 13. Beethoven was importuned by a clever friend, M. Maelzel, a musician, to write a symphony in commemoration of it, and to call it "Wellington's Victory." Maelzel was a man of remarkable mechanical ingenuity. He had before this won his way into Beethoven's good graces by making him an ear-trumpet, which he used for several years. He was the inventor of the metronome and a man of considerable intelligence. He had invented a Panharmonicon, an automaton instrument containing most of the instruments found in full orchestra, on the principle of the modern orchestrion. Allied to his talents as musician and inventor were those of good business ability and a knowledge of human nature. The Battle Symphony appears to have been written originally for the Panharmonicon. "I witnessed," says Moscheles, "the origin and progress of this work, and remember that not only did Maelzel induce Beethoven to write it, but even laid before him the whole design of it; writing the drum marches and trumpet flourishes of the French and English armies himself, giving Beethoven hints how he should herald the English army by the tune of 'Rule Brittania;' how he should introduce 'Malbrook' in a dismal strain; depict the horrors of the battle, and arrange 'God Save the King,' with effects representing the huzzas of the multitude. Even the idea of converting the melody of 'God Save the King' into a subject of a fugue in quick movement emanates from Maelzel." It is hardly conceivable that Beethoven, if left to himself, would have produced anything of this sort. But it exactly suited the popular feeling, and was such a success that Beethoven was induced to arrange it for full orchestra. This work is never classed among his symphonies, although it served to make him very popular with the Vienna public.

The presence in their midst of the composer of the Eroica Symphony in these stirring times, was a significant fact, which was bound to be duly exploited by the Viennese. The Battle Symphony confirmed and emphasized Beethoven's stand as a patriot. He was consequently greatly looked up to by the young men of the time, in particular by the student element, already of considerable importance in Vienna, who made an idol of him. He was now everywhere in demand, his music of necessity being a part of the programme of every concert or important event in the City.

It is a national characteristic with the Germans to celebrate every issue with music. A great occasion called for a great demonstration. When therefore, it was proposed to give a concert in aid of the Austrian and Bavarian soldiers disabled at the battle of Hanau, where the French were intercepted after their retreat from Leipzig on October 30, the matter was intrusted to Beethoven as being the man best fitted for the work. It was stipulated that Beethoven's music was to occupy the programme exclusively, which gave him a good opportunity to produce the Seventh Symphony, still in manuscript.

An aggregation of eminent musicians volunteered their services for the occasion, sinking their differences in patriotic elation. Moscheles, already then a great pianist, played the cymbals. Meyerbeer presided at the big drum. Spohr took a prominent part, together with Salieri, Romberg and Hümmel. The fact that Beethoven conducted it indicates that his deafness could not have been so bad at this time. The concert took place on December 8, and, as may be supposed, was a brilliant success. It was repeated four days later. At each performance, the principal event, was, not the Seventh Symphony, but rather the Battle-piece, which, performed by full orchestra for the first time, won loud and frequent applause.

After the second performance Beethoven gave a letter to the public in which he says, "The concert was a rare assemblage of eminent performers, each glad to contribute by his presence and talents something towards the benefit of the country, even to the extent of taking subordinate places in the orchestra where required. On me devolved the conduct of the whole, because the music was composed by me. Had it been written by any one else, I would as cheerfully have taken my place at the big drum, for we were all actuated by the feeling of patriotism and the desire to benefit those who had sacrificed so much for us."

The concert had to be repeated in January and in February following, as patriotism was still the ruling idea with the populace. At the February concert the Eighth Symphony was on the programme, but in each case the pièce de résistance was the Battle Symphony. It was produced again in March, when Beethoven conducted it, together with the Egmont Overture, at the annual concert for the Theatre-Armenfonds. The symphony soon found its way to England and enjoyed great popularity there from its connection with Wellington. It frequently appeared on the programmes under the name of Wellington's Victory.

The general esteem in which Beethoven was held by the Viennese led to a demand for another hearing of Fidelio, which had been out of sight and mind for eight years. The libretto was again worked over (this time by Treitschke), and submitted to Beethoven. The revised form seems to have pleased him at once, although very important changes were made which imposed on him a herculean task. New music had to be written for certain portions, and the whole rearranged and adapted to the new conditions. Everything was going Beethoven's way in these years, which may explain his good-natured acquiescence in these demands. "Your revision suits me so well," he wrote Treitschke, "that I have decided once more to rebuild the desolate ruins of an ancient fortress." This time the opera was a pronounced success, although alterations and emendations were in order more or less during the entire season. On July 18, it was performed for Beethoven's benefit. Moscheles made a piano arrangement of the score, and must have considered it a great task, as he wrote at the end.

FINIS.
WITH GOD'S HELP.

When Beethoven saw this he wrote underneath, "Oh man, help thyself!" The piano arrangement was dedicated to the Archduke and published in August.

The year 1814 was a memorable one for Beethoven. Important events crowded fast on his horizon, chief of which were those proceeding from the meeting of the Congress of Sovereigns in Vienna in the autumn of this year. Napoleon was in the toils; he had been forced to abdicate and was now a prisoner on the island of Elba. When the treaty of peace was signed at Paris on May 30, 1814, between France and the allies, it was agreed that all the powers which had been engaged in the war on either side, should send plenipotentiaries to Vienna in general Congress to arrange for the conclusion of the provisions of the treaty of peace.

The Congress met in November of the same year, and was characterized by a degree of magnificence which renders it unique of its kind. The Emperor and Empress of Russia, the kings of Prussia, Bavaria, Denmark and Würtemburg were present in person. England and France were represented by their highest nobles. Spain, Sweden and Portugal sent representatives. The advent of a hundred great personages in Vienna naturally brought other distinguished visitors there and the gayeties that supervened, now that the wars were a thing of the past, occupied the time and attention of the visitors to such an extent that for three months nothing of a business nature was attempted by the Congress. These were halcyon days for Vienna. Peace was restored after twenty years of such warfare as only a Napoleon could inflict, the nervous tension became a thing of the past, and sovereign and noble could again take up the chief occupation of life, enjoyment.

The city fathers, on learning that the Congress was to be convened in Vienna, commissioned Beethoven to write a cantata of welcome to honor the visitors. The poem "Der glorreiche Augenblick" (The Glorious Moment), was chosen, which Beethoven set to music. As may be supposed the new cantata served to increase his fame, although as a work of art it is about on a par with the Battle Symphony.

Beethoven occupied a prominent part in the many notable gatherings which were a feature of this winter. Associated in people's minds as a harbinger of the new era, his popularity increased in line with the ever brightening political horizon. The Archduke enjoyed having him at his receptions, introducing him to the sovereigns, and made much of him generally. It was at the Archduke's apartments that Beethoven was introduced to the Empress of Russia, who showed him much attention, both here and when meeting him elsewhere. He met her frequently at Count Rasoumowsky's, who as Russian Ambassador entertained lavishly in honor of his distinguished guests. He afterward related humorously how the crowned heads paid court to him, referring to the urbanity and courtesy which the Empress in particular, used toward him. Beethoven is on record as saying that he liked being with the aristocracy. He seems to have had no difficulty in impressing on the Empress the right concept of his importance as man and artist. In acknowledgment of the courtesies which he received from her, the master composed for her a Grand Polonaise (in C, opus 89) which, in company with the pianoforte arrangement of the Seventh Symphony he dedicated to her.

Shortly after the assembling of the Congress Beethoven gave a concert for his own benefit, at which the new Cantata as well as the Battle Symphony and the Seventh Symphony were performed. The Riding Hall, an immense structure, capable of seating six thousand persons was placed at his disposal, for which, however, a large price, one-half the receipts, was exacted, so Frimmel states. With sublime confidence Beethoven sent out invitations in his own name to the visiting sovereigns and other notabilities, all of whom responded, with the result that the hall was crowded and the concert proved to be a great success.

As a result of the winter's activities, Beethoven's finances were greatly improved. He displayed a degree of business ability during this year, which was not to have been expected from a man of his temperament. His profits from one source or another were such that he invested money to the extent of ten thousand florins, in shares of the Bank of Austria. It was his first and only investment, undertaken as a provision for the future.

That Beethoven kept his head in the face of all