 Section 20 of the Life of Ludwig von Beethoven, Volume 1 by Alexander Wheelock-Feyer, translated by Henry Edward Krebiel. This LibraVox recording is in the public domain. Chapter 18, Beethoven's Brothers, his first concert on his own account. Panto Emma Sonata for Horn, Stibelt, Confounded, E. A. Förster, and the First Quartets, The Septet and First Symphony, Beethoven's Homes, Hofmeister, Compositions and Publications of 1800. It is not easy to conceive upon what ground the opinion became current, as it did, that Beethoven in the year 1800 and forth several years to come was still burdened with the support of his brothers, young men now respectively, in their 26th and 24th years. This mistake as to Johann has already been exposed, leaving Ludwig for the first quarter of this year doubly busy, having in addition to his usual occupations, his preparations to make for a grand concert in April return for a page to his brother Carl. In the Hof und Starts, Skatmatismus for the year 1800 at the end of the list of persons employed in the KK Universal Starts Schuldenkassa are the names of two, Praktekanten, the first is Mr. Carl V. Beethoven, lives in the Sterngasse 484. In the same publication appears a new department or bureau of the above-named office, called the KK in erst Klassenstuerkassa, and the second of the three bureau officers is Mr. Carl V. Beethoven, lives unterm to Kladen 605. It is not improbable that while simply Praktekanten, he may have needed occasional pecuniary aid, but his preferment to the place of Kassa officie rendered him independent. This appointment is dated March 24th, 1800, and gave him a salary of 250 florins, small as the sum now appears it was amply sufficient with what he could earn by teaching music and the brother of the great Beethoven could have no lack of pupils to enable him to live comfortably. In fact, he was better off than many a colleague in the public service who still with care and economy managed to live respectively. It may therefore be confidently asserted that Beethoven was henceforth relieved of all care on account of Carl as of Johann until the bankruptcy of the government, and Carl's broken health many years later made for eternal assistance indispensable. At the beginning of this year Carl had tried his fortune as a composer probably with slender profit since no second venture has been discovered. Six minuets, six dorsche, and six compredances by him are advertised in the Weiner Zeitung of January 11 in double editions, one for Kravier and one for two violins and violon cello. The concert for which Beethoven had been preparing during the winter took place on the second of April. It was his first public appearance for his own benefit in Vienna, and so far as is known anywhere except in Prague. All that is now to be ascertained in relation to it is contained in the advertisement in the program and a single notice sent to the Algemeiner Musiker Zeitung. The program which was in the possession of Madame von Beethoven, winner of the composer's nephew, is as follows. Today, Wednesday, April 2, 1800, Herr Ludwig von Beethoven will have the honor to give a grand concert for his benefit in the Royal Imperial Court Theatre beside the Berg, the pieces which will be performed are the following, one the grand symphony by the late Chapelmaster Mozart, two an aria from the creation by the princely Chapelmaster Herr Haydn, sung by Mademoiselle Saal, three a grand concerto for the Piano Forte, played and composed by Herr Ludwig von Beethoven, four a septet most humbly and obediently dedicated to her Majesty the Empress, and composed by Herr Ludwig von Beethoven, four stringed and three wind instruments, played by Messieurs Schubenze, Schreiber, Zinblecher, Bach, Nicol, Matalstek and Ditzel, five a duet from Haydn's creation, sung by Mr. and Mademoiselle Saal, six Herr Ludwig von Beethoven were improvised on the Piano Forte, seven a new grand symphony with complete orchestra composed by Herr Ludwig von Beethoven. Tickets for boxes and stalls are to be had of Herr von Beethoven at his lodgings in the Tiefen Graben, number 241, third story, and of the Boxkeeper. Prices of admission are as usual, the beginning is at half past six o'clock. The correspondent of the Olga Meiner Musiker, Leska Zeitung, described the concert as the most interesting affair of its kind given for a long time, said the new concerto had many beauties, especially in the first two movements, praised the taste and feeling exhibited in the septet, and in the symphony found much art, novelty and wealth of ideas. But he continues, unfortunately, there was too much use of the wind instruments so that the music sounded more as if written for a military band than an orchestra. The rest of the notice is devoted to scolding the band for inattention to the conductor, which of the Piano Forte concertos Beethoven played on this occasion is nowhere intimated. The symphony and sea soon became known throughout Germany, while the septet achieved a sudden popularity so widely extended and enduring as a length to become an annoyance to the composer. A public concert with Ponto, before the month was out, Beethoven again played in public in a concert given by Johann Stitch, known as Ponto, this bohemian virtuoso, after several years of wandering, had lately come to Vienna from Paris via Munich. As a performer upon the horn, he was unrivaled by any predecessor or contemporary, but as a composer he was beneath criticism. Beethoven's delight in any one whose skill afforded him new experience of the powers and possible effects of any orchestral instrument is known to the reader, nothing more natural therefore than his readiness to compose a sonata for himself and Ponto to be played at the latter's concert on April 18th. Ries informs us that though the concert was announced with the sonata, the latter was not yet begun. Beethoven began the work the day before the performance and it was ready for the concert. His habit of merely sketching his own part and of trusting to his memory and the inspiration of the moment, even when producing his grand concertos in public, probably rendered him good service on this occasion. The Algarmina Music Zeitung 3704 preserves also the interesting fact that owing to the enthusiastic applause, the sonata was immediately repeated. April 27th was the anniversary of the day on which Maximilian Franz entered Bonn to assume the duties of Elector and Archbishop. 16 years had passed and on this day he, with a small retina again, entered Vienna. He took refuge in an Esterhause Villa in a suburb while the small chateau near which now stands the railway station at Hetzendorf behind Schoenbrunn Garden was preparing for his residence, whether he soon removed and where for the present we leave him. At the end of February or early in March, the Charleston Daniel Steibelt gave a concert in Prague which brought him in 1800 Florence and in April or May, having finished his speculation, he went to Vienna. His purse filled with duckets where he was knocked in the head by the pianist Beethoven says Thomas Czech Ries relates how when Steibelt came to Vienna with his great name, some of Beethoven's friends grew alarmed lest he do injury to the latter's reputation. Steibelt did not visit him. They met first time one evening at the House of Count Fries where Beethoven produced his new trio in B-flat major for Piano Forte, clarinet and violon cello. Opus 11 for the first time. There was no opportunity for a particular display on the part of the pianist in this trio. Steibelt listened to it without sort of condescension, uttered a few compliments to Beethoven and felt sure of his victory. He played at quintet of his own composition improvised and made a good deal of effect with his tremolos which were then something entirely new. Beethoven could not be induced to play again. A week later there was again a concert to Count Fries's. Steibelt again played at quintet which had a good deal of success. He also played an improvisation which had obviously been carefully prepared and shows the same theme on which Beethoven had written variations in his trio. This incensed the admirers of Beethoven and him. He had to go to the Piano Forte and improvise. He went in as usual, I might say ill-bred manner to the instrument as if half-pushed, picked up the violon cello part of Steibelt's quintet and passed and placed it intentionally up on the stand upside down and with one finger drummed a theme out of the first few measures. Insulted and angered he improvised in such a manner that Steibelt left the room before he finished would never again meet him and indeed made it a condition that Beethoven should not be invited before accepting an offer. It was and still is the custom at the end for all whose locations and pecuniary circumstances render it possible to spend all or some portion of the summer months in the country. The aristocracies of birth and wealth retire to their country's seats, live in villas for the season or join the thongs at the great watering places. Other classes find refuge in the villages and hamlets which abound in the lovely environs of the city where many a neat cottage is built for their use and where the peasants generally have a spare room or two cleanly kept and neatly furnished. Beethoven's habit of escaping from town during the hot months was therefore nothing peculiar to him. We have reached the point whence, with little if any interruption, Beethoven can be followed from house to house in city and country through the rest of his life, a matter of great value in fixing the true dates of important letters and determining the chronology of his life and works. Before the first seven years the record is very incomplete. Various dwelling places in Vienna, Karl Holtz told Jan, he Beethoven lived at first in a little attic room in the house of the bookbinder Strauss in the Alser-Vor-Stadt, where he had a miserable time. This is one of the facts which an inquisitive young man like Holtz would naturally learn of the master during the short period when he was his factotum. This attic room must have been soon changed for the room on the ground floor mentioned in a previous chapter. An undated note of Van Schweiten is directed to Beethoven at number 45, Alser-Gasse, at Prince Liknovsky's, but in the Vienna directory for 1804 no street is so named and the only number 45 in the Alser-Grand is in the Lama-Gasse property of Georg Musil. But Prince Yosef Liknovsky is named as owner of number 125 in the Hauptstraße of that suburb. This was the same house, it had merely changed numbers. The site is now occupied by the house number 30, Alser-Stratse. Then Beethoven went as a guest to the house occupied by Prince Liknovsky in May 1795. Beethoven, in advertising the trios, Opus 1, gives the residence of the author as the Olga Liska's house in that crew Gaza behind the Minerite Church number 35 in the first story, but that is no reason to think that Prince Liknovsky then lived there. Where Beethoven was during the next few years has not been ascertained, but as has been seen by the concert bill on a preceding page he was during the winter of 1799 to 1800 in the Tiefen-Groben in a very high and narrow house. As Zerny wrote to F. Lewib for the summer of 1800 he took orders for himself and servant in one of those houses and inter-derbling an hour's walk perhaps from town to which the readyest access is by the bridge over the brook on the north side of the derbling hospital for the insane. The wife of a distinguished Vienna advocate occupied with her children another part of the same house. One of these children was Grill-Parser, afterward famous as a poet. The zeal with which Beethoven at this period labored to perfect his piano forte playing and his dislike to being listened to have been already noted. Madame Grill-Parser was a lady of fine taste and culture, fond of music and therefore able to appreciate the skill of her fellow lodger, bedignant of his aversion to listeners. Her son in 1861 still remembered Beethoven's incessant practice and his mother's habit of standing outside her own door to enjoy his playing. This continued for some time but one day Beethoven sprang from the instrument to the door opened and looked out to see if anyone was listening and unfortunately discovered the lady. From that moment he played no more. Madame Grill-Parser thus made aware of his sensitiveness on this point informed him through his servant that thus for her door into the common passageway should be kept locked and she and her family would solely use another. It was of no avail. Beethoven played no more. Another authentic and characteristic anecdote can belong only to this summer. There lived in a house hard by a peasant of no very good reputation who had a daughter remarkably beautiful but also not of the best fame. Beethoven was greatly captivated by her and was in the habit of stopping to gaze at her when he passed by where she was at work in farm yard or field. She however made no return of his evident liking and only laughed at his admiration. On one occasion the father was arrested for engaging in a brawl and in prison Beethoven took the man's part and went to the magistrates to obtain his release. Not succeeding he became angry and abusive and in the end would have been arrested for his impertinence but for the strong representations made by some who knew him of his position in society and of the high rank influence and power of his friends. Throughout this period of Beethoven's life each summer is distinguished by some noble composition completed or nearly so so that on his return to the city he was ready for revision and his copyist. Free from the demands of society his time was his own, his fancy was quickened, his inspiration strengthened in field and forest labor was a delight. The most important work of the master bears in his own hand the date 1800 and may reasonably be supposed to bend the labor of this summer. It is the concierge to and see minor for piano forte and orchestra opus 37. Dola Cialek and Hofmeister at the approach of Autumn Beethoven returned to his old quarters in the Tiefen Graben in this year. Crump pulse introduced to him Johann Emanuel possibly Johann Nepomuk Emanuel. Dola Cialek a young man of 20 years born in Jody Boers in Bohemia who had come to Vienna to take lessons from Albrecht's burger. He played the piano forte in Bieland cello was a capable musician in his youth a rather popular composer of Bohemian songs and then for half a century one of the best teachers in the Capitol. Toward the close of his life he was frequently occupied with the arrangement of private concerts chiefly quartet parties for Prince Zartor Risky and other prominent persons. As long as he lived he was an enthusiastic admirer of Beethoven and enjoyed the friendship of the composer till his death. Among his observations are the statements concerning the hatred of Beethoven felt by the Vienna musicians already noted. Kozaluck he relates through the C minor trio at his Dola Cialek's feet when the latter played it to him. Speaking of Beethoven Kozaluck said to Haydn we would have done that differently wouldn't we papa. And Haydn answered smilingly yes we would have done that differently Haydn says Dola Cialek could not quite reconcile himself with Beethoven's music it was Dola Cialek who witnessed the off-told scene in the swan tavern when Beethoven insisted on paying without having eaten. One of the most prolific and popular composers whom Beethoven found in Vienna was Franz Anton Hofmeister, Chapelmaster and R.I. licensed music art and book seller. He was an immigrant from the Neckar Valley and born 1754 much older than Beethoven to whom he had extended a warm sympathy and friendship doubly valuable from his somewhat similar experience as a young student in Vienna. This is evident from the whole tone of their correspondence. In 1800 Hofmeister left Vienna and in Leipzig formed a co-partnership with Ambrosius Kunow, organist of the electoral Saxon court chapel and established a publishing house there still retaining his business in Vienna. As late as December 5, 1800 his signature is as above given but on the 1st of January, 1801 the advertisements in the public press announced the firm of Hofmeister and Kunow, bureau de musique in Leipzig. Since 1814 the firm name has been C.F. Peters. Knowing Beethoven personally and so intimately it is alike creditable to the talents of but one and the taste and appreciation of the other that Hofmeister immediately upon organizing his new publishing house should have asked him for manuscripts. To this letter he received an answer dated December 15, 1800 in which Beethoven says, Per primo you must know that I'm very sorry that you my dear brother in music did not earlier let me know something of your doings so that I might have marketed my quartets with you as well as many other pieces which I have sold but if Mr. Brother is as conscientious as many other honest engravers who grave us poor composers to death you won't know how to derive profit from them when they appear I will now set forth in brief what Mr. Brother can have from me first a septet per il violina viola violoncello contrabasso clarinetta corno baghata tutti obligati I cannot write anything not obligato for I came into this world with an obligato accompaniment this septet is pleased greatly for more frequent use the three wind instruments namely forgato clarinetta and corno might be transcribed for another violin viola and violoncello second a grand symphony for for orchestra third a concerto for pianoforte which I do not claim to be one of my best as well as another one which will be published here by mollo this for the information of the live-stake critics because I am for the present keeping the better ones for myself until I make a tour but it will not disgrace you to publish it fourth a grand solo sonata that is all that I can give you at this moment a little later you may have a quintet for stringed instruments as well as probably quartets and other things which I have now now with me in your reply you might set the prices and as you are neither a Jew nor an Italian nor I either one or the other we shall no doubt come to an understanding the first string quartets the reference to the quartets opus 18 in this letter taken in connection with the apologies for a long delay in writing indicates conclusively enough that at least the first set the first three have been placed in the hands of mollo and company early in the autumn and it is barely possible not probable that they had already been issued from the press the importance of these quartets and the history both of Beethoven and of chamber music renders very desirable more definite information upon their origin and dates of composition than the incomplete unsatisfactory and not always harmonious data already known afford the original manuscripts appear to have been lost van lenz quotes in his critical catalog of Beethoven's works an anecdote from a pamphlet printed in door pot in which is related after Beethoven had composed his well-known string quartet in f major he played for his friend amanda on the piano forte the glorious adagio d minor nine eight time and asked him what thought had been awakened by it it pictured for me the parting of two lovers was the answer good remark Beethoven i thought of the scene in the burial vault in romeo and juliette this quartet existed then before amanda left vienna zerny says in his notes for yawn of the first six violin quartets that indeed major number three in print was the very first composed by Beethoven on the advice of schupin zig he called that in f major number one although it was composed later reese confirms this of his violin quartets opus 18 he composed that indeed major first of all that in f major which now precedes it was originally the third notabene that neither zerny norese spoke from personal observation at the time of composition they must both have learned the fact from Beethoven himself or more probably from dates on the original manuscripts a criticism of three quartets which appeared in the alga minna music zayton in 1799 which failed to give the name of the composer has been applied by some writers by long our hands in his history of music for instance to betovens opus 18 but erroneously they were the works of the manual alloys firster born january 26 1748 in neroth upper selizia died november 12 1823 in vienna a musician who was so highly esteemed by betoven that on one occasion at least he called him his old master the phrase can easily be interpreted to mean that betoven found instruction in firsters chamber music which he heard at the aswar a of prince lagnowski and other art patrons firsters compositions not many of which have been preserved in print are decidedly betovenish in character his eldest son who in 1870 was still living in trieste remembered betoven perfectly well from 1803 to 1813 and communicated to the author of this biography some reminiscences well worth preserving it is known from other sources that betoven after the retirement of albrecht's burger considered firster to be the first of all the vienna teachers of counterpoint and composition and this is confirmed by the son's statement that it was on betoven's advice that he sent to press the compendious and light on zoom general base which breitkopf and hartel published in 1805 a year or two later account razu mofsky applied to betoven for instruction in musical theory and especially in quartet composition betoven absolutely refused but so strongly recommended his friend firster that the latter was engaged firsters dwelling in all those years was a favorite resort of the principal composers and dilla taunty the other came betoven semester a very precise gentleman with abundant white hair chupin zig short batman with a huge belly vice tall and thin linka the lame v alone jealous and re help injure the jewish violin dilla taunt the uthor may setter j and hummel and others the regular periods of these quartet meetings were sunday at noon and the evening of thursday but betoven of those years often spent other evenings with firster when the conversation usually turned upon musical theory and composition notwithstanding the wide difference in their ages twenty two years their friendship was cordial and sincere the elder not only appreciated and admired the genius of the younger but honored him as a man and spoke of him as being not only a great musical composer but however times rough in manner and harsh even rude in speech about most honorable and noble nature add to all this the fact that betoven in later years recommended firster to pupils as his own old master and it is no forced and a natural influence that he betoven had studied quartet composition with him as he had counterpoint with albrecht berger an operatic writing with salieri nor is this inference weakened it is rather strengthened by some points in what now follows the earliest mention of a string quartet in connection with betoven is that proposal of count apony cited from beglar which led to no instant result then comes a passage from a letter to amanda do not give you a quartet to anybody because i've greatly changed it having learned how to write quartets properly had he learned from study under firster sketches for the first quartets the original manuscripts being lost further chronological notices concerning them must be sought for in the sketchbooks here not a bomb comes to our assistance in the petter collection at vienna there are sketches for that last movement of the g major quartet the last movement of the b flat quartet among them one which was discarded both deviating from the printed form more or less and one for the last movement of the f major quartet this approaching pretty closely the ultimate form thus this quartet was farther advanced than the others associated with this sketch or sketches for that sonata and b flat opus 22 and for the easy variations in g major which were begun while work was in progress on the last movement of the quartet in g betoven worked simultaneously on the first movement of opus 22 and the scherzo of the first quartet while working on the last movement of the quartet and b flat the rondo of the sonata was begun the sketches date from 7099 and 1800 in as much as they occur before those for the horn sonata which was composed very hurriedly and performed on april 18 1800 the sketches were doubtless written earlier one of the variations of the quartet in a major was sketched much earlier in 1794 or 1795 a little sketch for the first movement of the f major quartet found besides sketches for the violin sonata opus 24 no doubt belongs to the revised form of the quartet in a sketchbook formally in the possession of gras nick in berlin there are sketches for the quartet and d major which are near the ultimate form except that there is a different theme for the last movement then comes a beginning in g major inscribed quartet to the germ of the theme of the second quartet there was therefore at the time no second quartet and that indeed is the first their follows their coose sketches for the op for lead the rondo in g major opus 51 number two to a passage from schiller's ode to joy to gallant's minor levin zeitbehr strict in g minor to an inter metzo for piano forte through the revised form of the b flat concerto which he played in prog in 1798 and to various songs the indications are therefore that the sketches were written in 1798 then come sketches for the variations on and light tongue zoom general base which originated and were published in the beginning of 1799 and after them extended sketches for the first movement of the f major quartet of which those belonging to the first movement are in an advanced stage those for the second movement less so a few sketches for a third quartet thus specified which were not used show that there was no third at the time therefore the quartet in f is the second and was planned in 1799 another sketchbook contains the continuation of the sketches for the f major quartet and indeed for all the movements then an unused sketch for a third quartet still not yet in existence then to two songs by Gerta one ik denka dine then to the movements of the g major quartet which is thus indicated to have been the third the inter metzo in the second movement was conceived later further sketches for the a major quartet which it follows was the fourth among the sketches are others for the septet and the variation on kint wilst du ruhig schlafen which appeared in december in 1799 and was therefore not composed earlier all these sketches date from 1798 and 1799 but the quartets were not finished in an unused sketch for the adagio of the quartet in f occur the words le damier supere which confirmed the story told by amanda the continuation of the g major quartet dates to 1800 up to now no sketches for the quartet in c minor have been found the results of this chronological investigation may be summed up as follows the composition of the quartets was begun in 1798 that indeed the third being first undertaken this was followed by that in f and soon after or simultaneously work was begun on that in g which was originally designed as the second but as that in f was completed earlier this was designated as the second by Beethoven and that in g became in point of time the third the quartet in f was finished in its original shape by june 25 1799 on which day he gave it to amanda he revised it later whether or not this was also done with the others cannot be said there is no evidence the remark made in 1801 that he had just learned to write quartets need not be read as meaning that he had formal instruction from first but is amply explained by his practice on the six quartets yet first or may have influenced him strongly he then wrote the one in a now number five and tending it to be the fourth in this he seems to have made use of a motif invented at an earlier period the quartets in b flat and c minor followed the letter being perhaps the last the definitive elaboration of the quartets lasted certainly until 1800 possibly until 1801 the quartets then appeared in two sets from the press of molo it is likely that the first three at least were in the hands of the publisher before the end of 1800 as is proved by the letter to halfmeister the first three appeared in the summer of 1801 and were advertised as on sale by net ghillie and xeric already in july they were mentioned in the alga mena music zaitan on august 26 and then spazio's zaitan fear d a elegante bell in october of the same year the last three appeared and molo advertised them in the vener zaitan of october 28 the quartets are dedicated to prince lob kovitz notice of a valuable present to betovin from his lenient and generous patron prince carlik novski naturally connects itself with the story of the quartets a gift thus described by alivis fuks formerly violinist and the imperial court orchestra under date of december 2 1846 betovin's quartet of instruments ludwig von betovin owned a complete quartet of excellent italian instruments given to him by his princely patron and friend lik novski at the suggestion of a famous quartet player chupin ze i'm in a position to describe each of the instruments in detail one violin made by yosef warnerius in cremona in the year 1718 is now in the possession of mr carl holz director of concerts spiritual in vienna to the second violin which was offered for seh was made by nicolas amadi in the year 1667 and was in the possession of dr omeir who died recently in huddle dork it has been purchased by mr huber three the viola made by vincenzo ruger in 6090 is also the property of mr carl holz for the bilan cello and andreas granaries of the year 1712 is in the possession of mr p were timber of vienna the seal of betovin has been impressed under the neck of each instrument in on the back of each betovin scratched a big b probably for the purpose of protecting himself against an exchange the instruments are all well preserved and in good condition the most valuable one without question is the violin by yosef warnerius which is distinguished by extraordinary power of tone for which indeed mr holz has refused an offer of 1000 florans the four instruments were bought by peter theodor yokets in 1861 who gave them to the royal library at berlin betovin received them from lech napski certainly before 1802 but in what year is unknown another proof of the prince's regard in generosity however belongs to this namely an annuity of 600 florans to be continued until the composer should find some suitable prominent employment the only known publication of the year 1800 is the rondo in g major opus 51 number two which came from the press of sim rock as for the compositions of the year it is safe to assume that betovin put the finishing touches to the first symphony the septet opus 20 and the quartets opus 18 furthermore there can be little doubt but that the sonata for horn opus 17 the piano forte sonata opus 22 the concerto and c minor and the variations for four hands on the melody of the song ik denka dine belonged to this year variations tre facile on an original theme and g were sketched and probably completed the only chronological clues to the horn sonata are the date of its first performance april 18 1800 and the anecdote by riz concerning the rapid completion of the work no sketches have been found and nothing is known of the autograph but according to madham bomb the beginning of a clean copy of the adagio is to be found among the sketches for the sonatas opus 22 and 23 panto was still in munich in 1800 and since the work seems assuredly to have been designed for him there's equal certainty that it was composed in that year it was published by mollo in march 1801 the septet for four strings and three wind instruments dedicated to the empress maria teracea was played at the concert at which the symphony and c major was brought forward april to 1800 but it had been heard previously in the house of prince schwarzenberg in as much as sketches for it are found among those for the quartets especially the one in a major which belonged to the year 1799 its inception may be placed in that year though it was probably finished in 1800 shortly before its performance there's no date on the autograph it was offered to a half meister in the letter of december 15 1800 and was published by him in 1802 the septet speedily one great popularity was frequently transcribed half meister had an arrangement for a string quintet which he advertised on august 18 1802 riz thought the Beethoven had made it but he was in error nevertheless Beethoven gave half meister permission to publish an arrangement in which strings were substituted for the wind instruments and himself transcribed it as a piano forte tree or with violin or a clarinet oddly this arrangement was made as a tribute of gratitude from the composer to his new physician dr. yohan schmidt the doctor played the violin and his daughter piano forte both fairly well and Beethoven arranged his popular piece for family use and as was customary at the time gave dr schmidt the exclusive possession of the music for a year the theme of the minuet in the septet was borrowed from the piano forte sonata opus 49 number two but its treatment is original there has been considerable controversy without absolutely definitive result touching the melody which is varied in the andante kretschmer in his deutscher volk schleder berlin 1838 volume one number 102 page 181 prints the melody in connection with that renish folk song aak schiffer liber schiffer and there is a tradition that zerny said that it was taken by Beethoven from that source nadabam offers evidence deserving of consideration that the melody is a folk tune barice and begler who lived on the rine had nothing to say on the subject irk and bomber deutscher leader hort volume one page 273 published folk songs dealing with the legend which is at the base of aak schiffer liber schiffer but the melody of the andante is not to be found among them and berm gives it as his opinion that the song printed by kretschmer was written to Beethoven's belt melody by kretschmer's collaborator zoo called moglio it is not likely that the melody had it lived in that mouths of the people would have escaped so industrious a collector's earth who moreover was a native of the rime country the evidence was seen to indicate that the melody was original with Beethoven composition sketched in 1800 the pianet forte sonata and b-flat opus 22 also belongs to this year as appears from the fact that it was offered to hoffmeister in the letter of december 15 it was still in an unfinished state on that completion of the sonata for horn as is shown by the circumstance that sketches of it are mingled with a fair transcript of a passage from the letter work there are also sketches for opus 22 among those for the quartet and b-flat opus 18 number six and the later movements of a quartet in f no doubt the revision the sketches therefore belong to the year 1800 but may date back to 1799 from which it would appear that Beethoven worked an unusually long time on that sonata the principal labor was performed most likely in the summer of 1800 which Beethoven spent that un ter der bling it was published in 1802 by hoffmeister and cunnell sketches from the six easy variations are found amongst some of the last movement of the quartet in g which seem to be nearly finished again we can fix the year as 1799 or 1800 of special importance is the fact that the theme of the variations is the same as the first episode of the rondo of the sonata and b-flat in the circumstance that the sketches are of almost the same date indicates that the identity was not accidental the variations were advertised as new by traig on december 16 1800 the variations in d for four hands on the melody of gertz's palm ik denko dine were conceived at practically the same time as those just described Beethoven at first intended to give each stanza a separate setting and to this end made two sketches which are associated with the quartet sketches and belong to the year 1799 he then took the melody of the first stanza as a theme for variations for four hands in the same year and wrote them into the autograph album of two sisters the countesses teres brunswick and geosevine dame on september 22 1803 he offered them to hoffmeister in the place of the trio variations opus 44 with a remark that he considered them better than the latter hoffmeister however published the trio variations in 1804 the variations indeed were not published until the beginning of 1805 and were described as having been written in 1800 for the two countesses mentioned and dedicated to them in autograph preserved in that royal library in berlin contains four of the variations on ik denko dine and adagio in f major noted on four staves three with treble one with the bass clef askerzo in g major three quarters time and an allegro in g major halftime albert cop fromon who published the adagio for the first time in number 12 volume one of the music considers no doubt correctly that the three compositions were written for an automatic musical instrument though the number of new compositions produced in 1800 was small attention must be directed to the fact that the revision and completion of works for publication together with the planning of new books gave a deal of occupation to beto them amongst the compositions made ready for the printer where the quartets which were not ready to near the end of the year to them must be added the sonata in the e-flat opus 27 number one and the concerto in c minor the autograph of which distinctly bears the date 1800 it is certain over that Beethoven began working on prometheus in this year and the summer must have been a busy one for him in the section 20 section 21 of the life of leuzig von Beethoven volume one by alexander real lock fair translated by henry edward quibble this labor box recording is in the public domain chapter 19 the year 1801 concerts for wounded soldiers fagano and the ballet prometheus stefan von bruning hetzen dorf christus um urlberg compositions and publications of the year the funeral march and that sonata opus 26 the moonlight sonata the quintet opus 29 the tone of Beethoven's correspondence and that many proofs of his untiring industry during the winter 1800 to one and early part of the succeeding spring suggest a minded ease rejoicing in the exercise of its powers and body glowing with vigorous health but for his own words to vegler i've been really miserable this winter the passing allusions to ill health in his replies to hoffmeister's letters would merely impress the reader as being half groundless apologies for lack of punctuality in writing this chapter will exhibit the young master both as he appeared to the public and as he showed himself in confidential intercourse to the few in whose presence he put aside the mask and laid open his heart and will therefore it is believed be found fully to justify what has been said of his heroic energy courage and endurance under a trouble of no ordinary nature in the beginning of the year he wrote to hoffmeister as follows under date january 15 or thereabouts 1801 your enterprises delight me also and i wish that if works of art ever bring profit that it might go to real artists instead of mere shopkeepers the fact that you propose to publish the works of sebastian bock does good to my heart which beats only for the lofty and magnificent art of this patriarch of harmony and i hope soon to see them in vigorous sale i hope as soon as golden peace has been declared to be helpful in many ways especially if you offer the works for subscription as regards a real business since you ask it i meet your wishes by offering you the following items septet concerning which i've already written you 20 duckets symphony 20 duckets grand solo sonata allegro adagio minuetto ronda 20 duckets this sonata is a tidy piece of work hot sick go about shin my dearest mr brother now for an explanation you will wonder perhaps that i've made no distinction here between sonata septet and symphony i've done this because i've learned that a septet or symphony has a smaller sale than a sonata though a symphony ought unquestionably to be worth more note well the septet consists of a short introductory adagio then allegro adagio minuetto andante with variations minuetto again a short adagio introduction and then presto i put the price of the conchetta at only 10 duckets because as i've already written i do not give it out as one of my best i do not think the amount excessive on the whole i've tried at least to make the price as moderate as possible for you as regards the bill of exchange you may since you leave the matter to me issue it to gaimula or shula the whole sum amounts to 70 duckets for the four works i do not understand any money except via these duckets how many dollars and gold that amounts to does not concern me i being a really bad negotiator and mathematician this disposes of the disagreeable saura business i call it so because i wish things were different in the world there ought to be only one art warehouse in the world to which an artist would only need to carry his artworks to take away with him whatever he needed as it is one must be half tradesmen and how we adjust ourselves with god that is what i again call disagreeable as regards the l o let them talk they will certainly never make anybody immortal by their twaddle and as little will they rob anybody of immortality to whom apollo has decreed it benefit concerts for wounded soldiers the next letter requires a word of introduction that military campaign which included the disastrous field of hohen linden december 3 1800 had filled the hospitals at vienna and among the various means of raising funds for that benefit of the wounded was a series of public concerts the two in which they reached their climax took place in the large redota room redoubt and song of the imperial palace the one arranged by baron bonbon as director of the court opera was a performance of hyden's creation conducted by the composer on january 16 the other was arranged by madame franc christine gare hardy for january 30th that lady madame galvani magdalena bill man and her Simone were the singers Beethoven and punto the instrumental solo performers hyden directed to of his own symphonies pair and conzi directed the orchestra in the accompaniments to the vocal music in the first public announcement printed in the bainur zaitang the only artist mentioned was the famous amateur singer robin franc nae your hearty as the giver of the concert this called out from Beethoven the following letter poor madame de franc i think it my duty best of women to ask you not to admit your husband again in the second announcement of our concert to forget that those who contribute their talents to the same also be made known to the public this is the custom and i do not see if it is not done what is to increase the attendance at the concert which is its chief aim punto is not a little rolled up about the matter and he is right and it was my intention even before i saw him to remind you of what must have been the result of great haste or great forgetfulness to look after this best of women since if it is not done dissatisfaction will surely result having been convinced not only by myself but by others as well that i am not a useless factor in this concert i know that not only i but punto Simone galvani will ask that the public be informed also of our zeal for the philanthropic purposes of this concert otherwise we must all conclude that we are useless only yours lv bethoven whether this sharp remonstrance produced the desired effect cannot now be ascertained but the original advertisement was repeated in the newspaper on the 24th and 28th verbatim in the state of affairs then existing it was no time to give public concerts for private emolument or over a quarrel with the orchestra a year before it might have prevented bethoven from obtaining the berg theater again and the new theater on der vien was not yet ready for occupation but there's still another adequate reason for us giving no akademi concert this spring he had been engaged to compose an important work for the court stage vegana and the prometheus ballet sabbatore vegana dancer and composer of ballets both action and music the son of millenese of that same profession was born at napal's march 29 1769 he began his career at roam taking female parts because women were not allowed there to appear upon the stage he then had engagement successively at madrid where he married maria medina a celebrated spanish dancers bordeaux london and venice enriched last city in 1791 he composed his raoul sirre de croquis thence he came to vienna where he and his wife first appeared in may 1793 his raoul was produced on june 25th at the karn the north third theater after two years of service here he accepted engagements in five continental cities and returned to vienna again in 1799 the second wife of emperor france maria teracia was a woman of much and true musical taste and culture and vegana determined to compliment her in a ballet composed expressly for that purpose hydins gloriously successful creation may perhaps have had an influence on the choice of a subject the men of prometheus and the dedication of Beethoven's septet to the emperors may have had its effect in the choice of a composer at all events the work was entrusted to Beethoven if the manner in which this work has been neglected by Beethoven's biographers and critics may be taken as a criterion an opinion prevails that it was not worthy of him in subject execution or success it seems to be forgotten that as an orchestral composer he was then known only by two or three pianoforte congelitos and his first symphony a work which by no means rivals the greater production of Mozart and hyden and that for that stage he was not known to have written anything there is a misconception too as to the position which the ballet just then held in the court theater as a matter of fact it stood higher than ever before and perhaps then it has ever stood since vegana was a man of real genius and had wrought a reform which is clearly vigorously and compendiously described in a memoir of Heinrich von Collin from which we quote in the reign of leopold the second the ballet which had become a well-attended entertainment in vienna through the efforts of novell was restored to this stage popular interest turned at once to them again and this was intensified in a great degree and beside the ballet master moot solelli a second ballet master mr salvatore vegana whose wife disclosed to the eyes of the spectators a vivid to unsuspected art also gave entertainments the most important affairs of state are scarcely able to create a greater war of feeling than was brought about at the time by the rivalry of the two ballet masters the other lovers without exception divided themselves into two parties who looked upon each other with hatred and contempt because of a difference of conviction the new ballet master owed his extraordinary triumph over his older rival to his restoration of his art back from the exaggerated and expressive artificialities of the old italian ballet to the simple forms of nature of course there was something startling in seeing a form of drama with which the other two there had been associated only leaps contortions constrained positions and complicated dances which left behind them no feeling of unity suddenly succeeded by dramatic action depth of feeling and plastic beauty of representation as they were so magnificently developed in the earlier ballets of mr salvatore vegana opening as they did a new realm of beauty and though it may be true that it was especially the natural joyous unconstrained dancing of madame vegana and her play of features as expressive as it was fascinating which provoked the applause of the many it is nevertheless true that the very subject matter of the ballets which differentiate themselves very favorably from his later concease and his then holy classical skillful and manlike dancing were well calculated to inspire admiration and respect for the master and his creations two or three pages might be compiled of spicy matter upon the beautiful madame vegana's lavish display of the venus like graces and charms of her exquisite form but her name long before that premier theus ballet had disappeared from the role of the theater and for outline casantini reigned in her stead there was nothing derogatory to Beethoven in his acceptance of the commission to compose the music to a ballet by vegana but by whom commissioned upon what terms and when concerning these and similar particulars we know nothing we only know that at the close of the season before Easter on the 28th of March the guest shop day prometheus was performed for the first time for the benefit of the prima ballerina of the ballet core thrower line casantini and that the whole number of its performances this year was 16 and in 1802 13 the pecuniary result to Beethoven must therefore have been satisfactory through the full score did not appear in print in Beethoven's lifetime or for a long time thereafter it was not published indeed until the appearance of the critical complete edition in which it figures as number 11 of series 2 nothing is known of the original manuscript a copy revised except as two two numbers is in the royal imperial court library of Vienna a pianoforte arrangement of the score was published in June 1801 by artaria with the opus number 24 and a dedication for prince lick nofsky halfmeister printed the orchestral parts in a piano forte score in 1804 as opus 43 and number 24 having meanwhile been assigned to the violin sonata in f mention art perhaps also to be made of a pianoforte arrangement of number 844 hands composed pour la famille cobbler par louis bomb Beethoven set the pièce a trouille aussi agro orchestra dans la main magazine the cobbler family was frequently in Vienna among other times in 1814 it had nothing to do with the Prometheus music alouis fuchs has preserved a characteristic anecdote which came to him from the worthy hand of a contemporary and Beethoven had composed the music to the ballet Dia Guest Schoppa de Prometheus in 1801 he was one day met by his former teacher the great Joseph Haydn who stopped him at once and said well I heard your ballet yesterday and it pleased me very much Beethoven replied oh dear papa you are very kind but it is far from being a creation Haydn surprised at the answer and almost offended said after a short pause that is true it is not yet a creation and I can scarcely believe that it will ever become one we're upon the men said there are dues both somewhat embarrassed from the period immediately following we have another letter from Beethoven to Hofmeister dated April 22 1801 in which he says perhaps too it is the only sign of genius about me that my things are not always in the best of order and nobody can mend the matter except myself thus for instance the piano forte part as as usual with me was not written out in score and I only now have made a fair copy of it so that because of your haste you might not receive my to the legible manuscript so that the works may appear in the proper sequence as far as possible I inform you that the following opus numbers ought to be placed on the compositions on the solo sonata opus 22 on the symphony opus 21 on the septet opus 20 on the concerto opus 19 the titles I will send you soon set me down as a subscriber for the works of Johann Sebastian Bach also Prince Lagnowski the transcription of the Mozart sonata or sonatas as quartets and quintets will do you honor and certainly prove remunerative in this also I should like to be of greater service but I am a disorderly individual and with the best of intentions I'm continually forgetting everything yet I have spoken about the matter here and there and everywhere have found inclination towards it it would be a handsome thing if mr brother besides doing this were to publish an arrangement of the septet for flute as quintet for example by this means the amateur flouters who have already approached me on the subject would be helped and they would swarm around it like hungry insects to say something about myself I've just written a ballet in which the ballet master did not do as well as he might have done baren von lichtenstein has endowed us with a product not commensurate with the ideas which the newspapers have spread touching his genius another bit of evidence against the newspapers the baren seems to have formed his ideal on hair Mueller in the marionette show without however having attained it these are the beautiful prospects under which we pork fellows in vienna are expected to flourish under the same date Beethoven wrote to right cough and hardtail advice to the critics of life sick as regards your request for compositions by me I regret that at this time I'm unable to oblige but please tell me what kind of compositions of mine you want these symphonies quartets and others etc so that I may govern myself accordingly and in case I have what you need or want I may place it at your service if I am right eight works of mine are about to appear at molos in this place four pieces that half masters in life seek in this connection I wish to add that one of my first concertos and therefore not one of the best of my compositions is to be published by half meister and that Mueller is to publish a concerto which indeed was written later but nevertheless does not rank among the best of my works in this form this is only a hint for your musical journal in that matter of criticism of these works although if one might hear them well played that is one would best be able to judge them musical policy requires that one should keep possession for a space of the best concertos you should recommend to messiers your critics great care and wisdom especially in the case of the products of younger authors many of one may be frightened off who otherwise might probably accomplish more so far as I am concerned I'm far from thinking that I'm so perfect does not to be subject to blame yet the howls of your critics against me were at first so humiliating but after comparing myself with others I could not get angry but remain perfectly quiet and concluded they did not understand their business it was the easier to remain quiet since I saw the praise lavish don't people who have no significance in loco in the eyes of the better sort and who disappeared from sight here no matter how good they may otherwise have been but pox woe biscum peace for me and then I would not have mentioned the silver about the matter had not you yourself done so coming recently to a friend who showed me the amount which had been collected for the daughter of the immortal god of harmony a marvel at the smallness of the sum which germany especially your germany had contributed in recognition of the individual who seems to me worthy of respect for her father's sake which brings me to the thought how would it do if I were to publish a work for the benefit of this person by subscription acquaint the public each year with the amount and its proceeds in order to assure her against possible misfortune write me quickly how this might best be accomplished to you so that something may be done before this bark dies before this brick dries up and we be no longer able to supply it with water that you would publish the work is self-evident for maximians health having become precarious the welfare of the two-time recorder in those revolutionary times demanded that a wise and energetic successor to him as grand master should be secured in the person of an efficient co-adjutor the thoughts of all parties concerned fixed upon a man who was then not even a member of the order in case he would join it and accept the position namely the famous Archduke Carl a grand chapter was therefore called at Vienna which opened June 1st and which unanimously admitted him to membership he receiving a dispensation from taking the oaths for the time being on June 3rd he was elected co-adjutor and on the 11th he received the accolade the circular which called the meeting brought to the Austrian capital the whole body of officials employed at mergent time and thus it happened that Stefan Van Brunning whose name appears in the calendar of the order from 1797 to 1803 inclusive as Hothroth Sassessor came again to Vienna and renewed intimate personal intercourse with Beethoven another of our old bank acquaintances had also recently come the other he of whom in the opinion of the present writer Beethoven writes to Amanda now to my comfort a man has come again namely Anton Reica in the spring of this year Beethoven removed from the typhoon grabbing into ruins overlooking one of the bastions there is little if any doubt the wasser kunz baste and in one of those houses the main entrances to which in the sailor Stade at a later period of his life he came there again and with good reason for those houses not only afforded a beautiful view over the glass seas and that lands suburb but plenty of sun and fresh air in the hamburger house where now stands number 15 he had often gone with his exercises to Joseph Haydn and hard but lived his friend Anton von der time royal imperial truck says that his carver this year he chose hudson door for his summer retreat those who know well the embarrass of Vienna are aware that this village offers less attraction to the lover of nature than a hundred others within easy distance of the city there is nothing to invite one who is fond of the solitude of the forest but the thick groves in the garden of shernbrunn some 10 minutes walk distant it is certainly possible that Beethoven state of health may have forbidden him to indulge his taste for long rambles and that the cool shades of shernbrunn so easily and at all times accessible may have determined his choice it would be pleasant to believe though there is no evidence to support such a belief that some feeling of regard for his former patron maxim million which sought retirement hudson door was one of the causes which induced the composer to spend this summer there oratoria the mount of olives that was a period at vienna fruitful in short sacred cantatas uncertain days in the spring and late autumn no theatrical performances were allowed and the principal composers embraced the opportunity to exhibit their skill and invention in this branch of their art sometimes in concert for their own benefit more commonly in those republic charities hide and salieri winter suce mar there are names that will occur in this connection to every student of vienna's musical annals Beethoven ever ready to compete with the greatest talent in at least one work and a czarist of producing at his next concert the novelty of an extensive vocal composition by himself determined to compose a work of this class the subject chosen was creased us um earlburg its composition was the grand labor of this summer the text was written by me in collaboration with the poet within 14 days writes Beethoven in one of his letters but the poet was musical and had already written many things from music i was able to consult with him at any moment this boy was Franz Zebra Huber fertile writer in general literature and a popular author for the vienna stage who occupied so high a place in public esteem that his consent to prepare the text of the priestess is another indication of the high reputation of Beethoven the merits and demerits of the poem need not be expatiated upon Beethoven's own words sure that he was in part responsible for them schindler says Beethoven also lived in hesson gorg in 1805 and composes fidelio a coincidence touching the two works one that remained in the lively memory of Beethoven for many years was that he composed both of them in the thicket of the forest in the schoenbrunner half garden sitting on the hill between two oaks which branched out from the trunk about two feet from the ground this oak which always remained remarkable in his eyes it is to the left of that gloria i've found again with Beethoven as late as 1823 and it awakened in him interesting memories of the early period so far as has been determined the composition completed in 1801 were the sonatas for pianoforte and violin opus 23 and 24 the pianoforte sonatas in a flat opus 26 e flat opus 27 number one and c sharp minor opus 27 number two and d major opus 28 and the quintet in c major opus 29 the andante in d minor of the sonata opus 28 says zerny was long his favorite and he played it often for his own pleasure the twelve contra dances and six rustic dances learned are sketched in part on the first stage of the tesla sketchbook if we are justified in assuming that they were composed for the balls of the succeeding winter and were played from manuscript it would follow that they also are to be counted among the compositions completed in this year publications of the year 1801 the published works were the concerto for pianoforte and orchestra opus 15 dedicated asso altessa madame la princesse odellaski ne kagloviks the sonata for pianoforte and horn opus 17 dedicated a madame la baron de branhe the quintet for pianoforte oboe clarinet horn and bassoon opus 16 dedicated asso altessa monsignor le flinus vagnon de saracenberg these three works were announced by merleau and company on march 21 furthermore the music to prometheus arranged for pianoforte according to zerny by the composer and dedicated asso altessa la senora principessa leknovsky nata contessa ton published in june by artoria as opus 27 sixth variations trait facile on an original theme in g announced by johan tregg as absolutely new on august 11 sketched in the preceding year but probably completed in this the sonatas opus 23 and 24 dedicated a monsignor le con morisse de frieze announced on october 28 the sixth quartets opus 18 dedicated asso altessa monsignor le flin vagnon de lekoviks announced second series on october 28 by mollo the pianoforte taken geritor and b flat opus 19 dedicated a monsieur char nique nique le noble de nickleberg and the symphony and c opus 21 dedicated a son excellence monsieur le baron blanc suditan republished by halfmeister and cunea of leipzig certainly before the end of the year since they reached Vienna on january 16 and were advertised there an earlier leipzig edition has not been found the two violin sonatas in a minor and f major were dedicated to count morisse von frieze and were originally intended to be coupled in a single opus number as appears from the preliminary announcement by mollo in the biner zeitan of october 28 1801 and also by the designation of the second as number two on a copy of opus 24 sketches of the two found in that petters sketchbook evidence of their simultaneous origin the pianoforte sonata opus 26 had its origin according to nada bombs study of the sketches in the year 1800 but shedlock in the musical times of august 1892 prints a few beginnings of the first movement in b minor which probably date farther back perhaps to the bomb period a young composer ferdinand pair born at parma in 1771 since the beginning of 1798 had produced on the court stage a series of pleasing and popular works laboring in a sphere so totally different from that of Beethoven there was no rivalry between them and their relations were cordial and friendly on june 6 of this summer pair brought out a heroic opera achilles which was received with a storm of approval and deserved it says the correspondent of the zeitan furia d a elegante velle pair in his old age told ferdinand hillar a characteristic anecdote of Beethoven which cannot possibly be true in connection with his leonora as he by elapsed memory related it but is undoubtedly in connection with achilles it was to the effect that Beethoven went with pair to the theater where an opera by the letter was performing he sat beside him and after he had time and again cried out ah que c'est beau que c'est entressant had finally said il faut que je compose cela the correspondent just cited complaints of that want of character in the marches in achilles and incidentally confirms one of risa's notism the funeral march in a flat minor in the sonata dedicated to prince lignoski opus 26 was the result of the great praise with which the funeral march and pairs achilles was received by Beethoven's friends of that sonata completed this year zerny says when kramer was in vienna i was creating a great sensation not only by his playing but also by the three sonatas which he dedicated to hyden of which the first in a flat three quarters time awakened great amazement Beethoven who had been pitted against kramer wrote the a flat sonata opus 26 in which there is purpose their reminder of the clementi kramer passive work in the finale the marcia finabra was composed on the impulsion of a very much admired funeral march of pairs and added to the sonata whether or not this funeral march was really occasioned by pairs of achilles or one from another opera by pair since achilles was performed for the first time in 1801 and the older first sketches already contemplated a petso characteristic of pe una marcia as small is of subordinate interest since the legend has nothing whatever to do with reminiscences but only with this tremendous superiority to the music by pair the enigmatic sonata pour in in that sketches for this sonata no doubt means for a molo simply the splendid print in facsimile published by eric preger from the autograph discovered by him gives information concerning the sketches and also concerned the legends which refer to the origin of the different movements of the two pianoforte sonatas opus 27 the first in e flat was dedicated to the princess johanna von lichtenstein ne the long ravine first and bird the second account is geolata geocardi it is apparent therefore that they appeared separately at first sketches of the first show that they originated in 1801 both are designated quasi fantasia which plainly indicates a departure from the customary structure the sea sharp minor sonata opus 27 number two was dedicated to the countess geolata geocardi who at this time 1801 to 1802 was Beethoven's people and indubitably must be counted amongst the ladies who for a time at least were near to his heart concerning this later as his relationship to the countess has been exaggerated so also more significance has been attached to this sonata then is justified from our sober point of view Beethoven himself was vexed that more importance was attached to it than to other sonatas which he held in higher esteem opus 78 for instance simply because it had become popular its popularity was subsequently heightened by the designations arbor sonata and moonlight sonata and his creation into a sort of love song without words especially after schindler had identified the countess geocardi with the immortal beloved of the famous love letter it was a long time before attention was paid to a letter written by dr g l gross time to Beethoven dated november 10 1819 in which occurred the words you wrote me that at summa's grave in teplitz you had placed yourself among his admirers it is a desire which i cannot suppress that you mr chapel master would give to the world your wedding with summa i mean your fantasia and sea sharp minor and the patron the autograph of that sonata indeed opus 28 bears the inscription grand sonata opus 28 1801 de el van Beethoven it appeared in print in 1802 having been advertised in that viner zaitan of august 14 from the industry account with the dedication of monsieur joseph nobler de sainte-feuille conseilleur au leak de secrétaire perpetual de l'académie des beaux arts touching the personality of joseph nobler de sainte-feuille something may be learned from debbie nagle's book Beethoven and sainte-clavier sonata and also from billy bald mewler's biography of him at the time sainte-feuille was nearly 70 years old and so far as is known was not an intimate friend of Beethoven's the dedication was probably nothing more than a mark of respect for the man of brains with whose ideas Beethoven was in sympathy the single clue as to the origin of the work is the date 1811 on the autograph sketches seem to be lacking the sunny disposition of the music is the only evidence and this is internal the work early acquired the sobriquettes sonata pastoral it was first printed by a crance and the designation is not inept the string quintet in c opus 29 the string quintet opus 29 as is evidenced by an inscription on the score was composed in 1801 and published by black cockman harteau in 1802 towards the close of the year simultaneously it appeared from the press of art area this second edition has a history according to reese quintet was stolen in vienna and published by a art area and company having been copied in a single night it was full of errors Beethoven's conduct in the matter is without parallel he asked a to send the 50 copies which have been printed to me for correction but at the same time instructed me to use ink on the wretched paper and as coarsely as possible also to cross out several lines so that it would be impossible to make use of a single copy or sell it this scratching out was particularly in the scherzo i obeyed his instructions implicitly etc not a bomb has proved that the further statements of reese touching the melting of the plates etc are wrong but the enraged composer did make a public statement and very popular through the levers of music in informing the public that the original quintet in c long ago advertised by me as having been published by bright cough and hartel in life seek i declare at the same time that i have no interest in the edition published simultaneously by missus artaria and mollo in vienna i'm the more compelled to make this declaration since this edition is very faulty incorrect and utterly useless to players whereas missus bright cough and hartel the legal owners of this quintet have done all in their power to produce the work as handsomely as possible ludwig bomb Beethoven a year later Beethoven revoked this declaration so far as it concerned mollo in the following announcement to the public after having inserted a statement in the viner zeitung of january 22 1803 in which i publicly declared that the addition of my quintet published by mollo did not appear under my supervision was faulty in the extreme and useless to players the undersigned hear about revokes the statement to the extent of saying that missus mollo and company have no interest in this edition feeling that i owe set the declaration to do justice to missus mollo and company before a public entitled to respect ludwig bomb Beethoven does not a bomb has shown Beethoven eventually agreed to revise and correct this edition also a long letter to bright cough and hartel dated november 13 1802 gives a lively picture of the excitement which the incident aroused in Beethoven i write hurriedly to inform you of only the most important things novene that while i was in the country for my health the arch scoundrel artaria borrowed the quintet from count friece on the pretence that it was already published in an existence here and that they wanted it for the purpose of re-engraving because their copy was faulty and as a matter of fact intended to rejoice the public with it in a few days good count friece deceived and not reflecting that a piece of rascality might be in it gave it to them he could not ask me i was not here but fortunately i learned that the matter in time it was on tuesday of this week and in my zeal to save my honor and as quickly as possible to prevent your suffering injury i offered two new works to these contemptible persons if they would suppress the entire edition but a cooler headed friend who was with me asked do you want to reward these rascals the case was finally closed under conditions they are sure me that no matter what you printed they would reprint it these generous scoundrels decided therefore to wait three weeks after the receipt here of your copies before issuing their own insisting that count friece had made them a present of the copy one term the contract was to be closed and for the spoon i had to give them a work which i valued at at least 40 ducats before this contract was made comes my good brother as if sent by heaven he hurries to count friece the whole thing is the biggest spindle in the world how neatly they kept themselves out of count friece's way and so on and i go to f and as the enclosed reveres may show that i did all out of my power to protect you from injury and my statement of the case may serve to prove to you that most sacrifice was too great for me to save my honor and save you from harm from the reveres you will see the measures that must be adopted and you should make all possible haste to send copies here if possible at the same price as the rascals some lightener and i will take all further measures which seem to us good so that their entire addition may be destroyed please take good notice that mobile and artoria combined are already only a shop that is a combined lot of scoundrels the dedication to friece i hope was not forgotten in as much as my brother wrote it on the first sheet i wrote the reveres myself since my poor brother is very much occupied with work yet did all he could to save you and me in the confusion he lost a faithful dog which he called his favorite he deserves that you thank him personally as i have done on my own account recall that from tuesday to late last night i devoted myself almost wholly to this matter and the mere thought of this rascally stroke may serve to make you realize how unpleasant it is for me to have anything to do with such miserable men reveres the undersigned pledges himself under no circumstances to send out or sell here or elsewhere the quintet will see from mr count friece composed by lud the vatoven until the original edition shall have been in circulation in vienna 14 days vienna ninth month 1802 artaria comp the r is signed with its own hand by the comp use the phone is to be head of vienna shea artaria comp a munich shea f harm a frankfort shea gale at nadler perhaps also shea may sell the price is too foreign viennese standard i got hold of 12 copies which they promised me from the beginning when corrected them the engraving is a bobbin oval make use of all this you see that on every side we have them in our hands and can proceed against them in the courts no dwell any personal measures taken against a will have my approval under date of december 5 18 or two bait ovens brother carl wrote to breitkopf and hartel on the same subject finally i shall inform you touching the manner in which my brother sells his works we already have in print 34 works and about 18 numbers east pieces were mostly commissioned by amateurs under the following agreement he who wants a piece pays up fix some for his exclusive possession for a half or a whole year or longer and binds himself not to give the manuscript to anybody at the conclusion of the period it is the privilege of the author to do what he pleases with the work this was the understanding with count freese now the count has a certain conti as violin teacher and to him artaria turned and he probably for a consideration of eight or ten floors said that the quartet sick had already been printed and was to be had everywhere this made count freese think that there was nothing more to be lost in the matter and he gave it up without a word to us about it count freese is not here just now but he won't return in six days and then we shall see a jewel recompensed in one way or another i send you the accompanying reverse signed by artaria for inspection please return it this reverse cost my brother seven days during which time he could do nothing and me in new mobile trips many unpleasantnesses and the loss of my dog Beethoven's declaration not having been published until more than two months after his letter containing the reverbs the incidents touching which freese makes report and the partial re-engraving of the plates must have taken place after january 1803 and the end of the quarrel in 1804 sketches of the quintet have not been found and the question naturally arises whether or not it might have had an earlier origin or been developed from earlier sketches a note in a conversation book of 1826 indicates that one of the quintet's themes was written by chupin z end of section 21