Karl also mentions the encounter he had with former unpaid assistant Anton Schindler a few days ago. “He is completely in despair because he cannot provide Frau Schechner with the service (to introduce her to you) because he does not dare to invite her to dinner without knowing her better. He therefore pleads in deep devotion that you will decide a time, but in the afternoon, when he may introduce the Demoiselle to you for the first time.” Uncle Ludwig tells Karl that Schindler has already been to see him pleading his case, but then he mostly wanted to talk about his complaint with the Josephstadt Theater. Karl agrees that he is completely occupied with this grievance. [Karl’s comments shed some light on why Schindler was so anxious to make this introduction.]

Uncle Ludwig is unhappy with the maid, Marie Stiegel, who is slow at getting his meals ready. Karl points out that now she is doing everything herself. Once she has learned all the rules properly, it will work itself out. In the meantime, they will see how the other one [Passy] does at the beginning.

Karl went by the Steiner music shop recently with his uncle and saw old Steiner, who is supposedly retired, standing in the vault. His successor and partner Tobias Haslinger is not stupid. “He has made many friends during his time of submissiveness [as a junior partner]; now he considers himself strong enough to act on his own as a Paternostergässler. [A reference to the short street where the Steiner shop was located, the name of which always delighted Ludwig as a source of puns.]

Karl helps his uncle with the mail. There is a letter from Adolph Martin Schlesinger, accepting Ludwig’s offer of small orchestral pieces, WoO 2b and WoO 3. But there is a problem: Schlesinger thinks there are three pieces, not two. [Ludwig had described the Gratulationsmenuett confusingly as a Serenade, and Schlesinger misunderstood them to be separate pieces.] Schlesinger requests the manuscripts. They will need to have copies made of the autographs for Schlesinger. Karl astutely understands the value of his uncle’s writings. “You must never accept handing over the original. They will sell your handwriting.” Ludwig says that Karl has plenty of his handwriting. Karl protests, “I do not give it away.” He adds, quite correctly, “It is certain that your handwriting will be well paid for. Someday, even better. You see that with manuscripts from other famous men, for example Schiller. A letter from him carries a very high price.”

But Brother Johann will get nothing of Ludwig’s autograph material. Karl adds, “I did not intend to tell you this, but it is noteworthy so that you learn about his stinginess. The last time he was here, and when he spoke to me, he started talking about my mother. He said: I am very sorry that her circumstances are so sad; my brother ought to give her something!!”

Uncle Ludwig makes reference to Johann regularly inviting them to come stay with him in the country. Karl adds snidely, “If we were at his estate, we should probably have to go to a restaurant after dinner to satisfy our hunger.

Karl tells his uncle that a certain item of clothing can be worn for several days, but the white ones have to be washed every other day.

Conversation Book 113, 17r-19r.

Beethoven’s patron Archduke Rudolph arrives safely today at the Imperial Hofburg in Vienna, according to the June 19 Wiener Zeitung, Nr.138 at 583 (also quoted by the June 22 Brünner Zeitung (Nr.169) at 716).

In today’s Wiener Zeitung (Nr. 137) at 581 T. Weigl advertises Franz Schubert’s Divertissement sur des motifs originaux français in E minor for piano duet, op.63, today catalogued as D.823. This Schubert Divertimento D.823 is here performed by Bracha Eden and Alexander Tamir: https://youtu.be/m3RA0cxZFk4?si=UqoLbZ63uilqKrMq

Beethoven is continuing to work on the op.131 string quartet in C-sharp minor, but it is probably nearing completion at this point. He puts sketches for the 7th movement of the quartet on leaf 39v of Conversation Book 112, in barely visible pencil; a detail from these sketches, enhanced for readability, is seen nearby. The hand-drawn staff lines are unusually wavy here even for Beethoven, suggesting that he was hurriedly writing while he walked.

In between the staves, Beethoven writes part of his shopping list:

• slippers
• mirror

He continues on the next page, along with some numbers written by Nephew Karl (possibly at another time):

• about spraying [of the streets and alleys for dust and dirt. The government arranged for twice daily sprayings to keep down the dust and dirt in the City, the cost of which was assessed to the property owners. According to an 1823 decree published in the June 7 Wiener Zeitung at 45, landlords could pass that charge on to their tenants, but no markup was permitted. The superintendent of the Schwarzspanierhaus will try unsuccessfully to get the tenants in the building, presumably including Beethoven, to help defray these charges, which were 25 florins per month.]
• for roasting coffee another machine

This concludes Conversation Book 112. Conversation Book 113 immediately begins being used today. This notebook presently consists of 43 leaves, which cover the second half of the month of June. The pages of the conversation book are bound out of order; leaves 15-43 chronologically come before leaves 1-14. Schindler accurately dated the book to the Month of June 1826, though it also says “in Baden,” and Beethoven did not go to Baden in 1826 (though he had in 1824 and 1825).

Nephew Karl visits his uncle later today. When Elisabeth Passy, the prospective housekeeper, came to see him, she didn’t say anything about Tuesday, but assured him she certainly wanted to come on Monday. “She talks terribly much. I was rather busy when she came to me, but I could hardly get rid of her.”

She then started talking about bringing the maid, Marie Stiegel, so she wouldn’t have to carry her things to Beethoven’s apartment herself. “I told her that would be difficult, because someone always has to stay at home to be at your service, as is also the case.” In any event, the maid is not going to help her. It would be hard for her to consult with the maid. “Hopefully, she will be able to shop on her own; I told her directly that this would not happen, and she also understood.” Karl says he has told her everything that can be said about this issue.

“I think one has to break her of some of her habits, particularly her addiction to improvements, which seems to dominate her very much. Among other things, she told me that when she lived in happier circumstances, people had taken her for a woman born in France when she spoke French, and a woman born in Italy when she spoke Italian. I spoke French with her and I can assure you that her French orthoepy [correct pronunciation] is not any better than her German orthography [spelling; orthoepy is considered the auditory counterpart of orthography, with the parallel being of particular note because of Beethoven’s deafness.]

Karl assures his uncle that he will come on Tuesday, June 20.

Karl asks about the Ischl spa; it is 32 miles away. [Uncle Ludwig has been considering a trip there for the baths for his health.]

Uncle Ludwig expresses a wish that Karl would stay longer with him. Karl replies that recently he was much too late to class. Today he has to be at the Polytechnic Institute exactly at 3 o’clock, because they have a written exam on every Friday.

The fishmonger, Therese Jonas, has sent a fish to Beethoven as a gift. Wilhelm Klingenbrunner, poet at the Leopoldstadt Theater, takes Beethoven’s fish orders to Jonas since her market is nearby his apartment. Karl suggests that he should invite them both to the Leopoldstadt Theater some time.

Karl departs for his exam sometime between 2:30 and 3. Beethoven makes a note “+ sugar, coffee—” which may be a shopping list, or may relate specifically to the new housekeeper’s allowance for these items.

Karl returns late that afternoon with bad news. He was late for his written exam again today. Uncle Ludwig asks whether he needs to take a fiacre to get there on time. Karl says he does not need a fiacre so long as he leaves the apartment by half past 2. They need to have dinner earlier. “In general, it will be rare during the week for me to eat with you in the future, because I always lose time, except on Saturdays.”

Uncle Ludwig suggests that he could come into the City to visit the tailor. Karl would like to go together on occasion; he definitely needs suspenders. Perhaps they could meet before lunch, in the Michaelerhaus at 12:30 tomorrow.

Karl then heads back to his rooms. Uncle Ludwig goes to a coffeehouse and reads the newspapers. He copies an advertisement from today’s Intelligenzblatt for an apartment with 9 rooms and 2 kitchens in a very pleasant mountainous wine region, partly furnished from the second half of June through the end of November for 200 florins W.W.

Conversation Book 113, 15r-16v.

• with Böhm about a violin method
  Above the Creuzerische put Böhm’s application
  Nb: Another name for Kreutzer’s violin method [this related to the Méthode de Violon by Biallot, Rode & Kreutzer, published in 1803 in Paris, later in German editions under the name Violonschule von Rode, Kreutzer und Baillot.]

Beethoven goes out to mid-day dinner at a local restaurant or inn. Writer, composer and editor Friedrich August Kanne joins Beethoven. Kanne had recently written a libretto for the Kärntnertor Theater, Mainacht. Kanne appears to be unaware that the theater management had offered the libretto to Beethoven to set to music. Kanne is one of the very few people Beethoven allowed to address him with the informal “du.”

Kanne believes Duport does not know what to think about Mainacht. Joseph Gottdank, a singer and director at the Kärntnertor Theater, and others seem to be his enemies. He believes his libretto is surely impressive and romantic. He has not yet been paid for it, however. “The devil will not hand over the money. I assure you on my honor that [Anton] Schindler very well knows that Duport said to ma “au Plaisir de Vous revoir.” That was all.”

Beethoven’s collected works are the subject of discussion. Kanne tells Beethoven he should change his writing [in various compositions] by 20 bars. The publishers will likely issue it as series by genre, like the Hoffmeister Bureau de Musique publishing house did for the collected works of Bach and Mozart. “Announce in the newspaper that you have improved your compositions, and that because of that, the former editions cannot be recognized as adequate.”

Beethoven mentions opera singer Nanette Schechner, whom he was expecting to come visit him yesterday. Kanne says that recently she lost her voice completely for half a minute, in a performance of Rossini’s La gazza ladra earlier this month.

Knowing Beethoven’s fondness for wordplay, Kanne asks where the wooden man is [Holz in German meaning wood.] “He admires you sincerely.”

Kanne brags he has not bought a book in 20 years; instead he studies at the University Library.

Joseph Bernard’s libretto for Der Sieg des Kreuzes comes up [Kanne had tried editing the oratorio, Victory of the Cross, into a useable form last year.] He jokes, “Will the cross win?”

Kanne explains that he came to join Beethoven because he was told Beethoven ate here often.

Kanne says he has waived 2,000 florins that they would have had to pay him, which amounts to a year’s salary, for so much is overdue according to his contract. “The rats are eating my literary works,” suggesting that the prolific Kanne writes things that never get used or published. He has also composed for them a fugal overture for three trumpets with orchestra. Like Beethoven, he values his freedom. But the theater management are Philistines who certainly do not.

Kanne asks how Beethoven likes Graf’s machine for making the piano sound louder. [Unfortunately, Beethoven’s response is not recorded; he may tell Kanne that he has not had a chance to try it out properly, since the Broadwood had still not been returned to him as of two days ago.]

Various other pieces of musical gossip, much of it obscure now, are touched upon. Kanne asks Beethoven whether he drinks coffee, which he certainly does. Gottfried Weber’s article questioning the authenticity of the Mozart Requiem is mentioned. Kanne says that “Herostratus set fire to Minerva’s temple in order to become famous, just like Weber with the Requiem.”

Publisher Tobias Haslinger has again compiled a mass for the sick, Kanne adds. After all, the healthy do not need one. He is publishing it himself; Steiner has turned over management of the publishing house to Haslinger completely.

Kanne says he must go, and departs.

Conversation Book 112, 34v-39v.

S.A. Steiner & Co. advertises in today’s Wiener Zeitung (Nr.135) at 574 the Rondeau brillant Nr.3 for piano four hands, op.102 by Carl Czerny, Beethoven’s former pupil.

Uncle Ludwig continues his list:

• for the eggs, big bowls—
• coffee machine
• money for coffee sugar

Karl sees the last note, and suggests that the new housekeeper, Elisabeth Passy, would prefer money to actual coffee, because even if she drinks coffee, she would surely buy a lower quality sort, and thus save something.

Karl asks whether Frau Breuning [Karl spells it Bräuning] has gone to the country. Uncle Ludwig says she has.

Passy will start as the new housekeeper tomorrow. Karl says he will come the day after tomorrow to review how she is doing.

The tailor will also make vests from a pattern, for 4 florins each. Karl thinks they are durable.

Uncle Ludwig makes more notes in the conversation book:
“All clothes into the chest, which is finished
Also nails into it and a new one for black laundry
Chest”

Karl suggests that the maid, Marie Stiegel, should pay close attention to Elisabeth Passy; in case Passy doesn’t last, Stiegel may have learned how to cook by then.

Karl mentions that he ran into Schindler yesterday.

Conversation Book 112, 33r-34v, 31r.

Despite the assurances of former unpaid assistant Anton Schindler that he would bring opera singer Nanette Schechner to visit Beethoven around 5:30 p.m. today, he apparently was not able to accomplish that.

Today’s Leipzig Allgemeine musikalische Zeitung (Nr.24) at 395-397 gives an account of the winter concerts held in Zurich. Among the pieces heard were symphonies by Haydn, Mozart, Beethoven, Romberg, Weber and Ferdinand Ries. “When it comes to the selection of larger orchestral works, there seems to be a great preference for Beethoven’s compositions; this may well be the reason why we were treated to his Battle of Vittoria at the end of the first concert, whereby the instructions regarding the trumpets, drums, etc. were perhaps followed too conscientiously.”

In the account of vocal music in Zurich, the reviewer comments, “Herr Arter also sang several tenor arias…We would ask him not to sing scenes that are too long, such as Beethoven’s Ah, Perfido!” Beethoven’s Choral Fantasy op.80 was also performed by musical director Hildebrand von Winterthur.

The Choral Fantasy, op.80, is here performed by Martha Argerich and Seiji Ozawa:

Uncle Ludwig decides that he will hire Passy as a housekeeper. Karl asks when he wants to take her on. Ludwig asks when she can start, and Karl replies, “The day after tomorrow” [Thursday, June 15.] Uncle Ludwig suggests that he would take her with him if he takes an apartment in Baden. Karl says that if he goes to the country, he should take the English piano [the Broadwood, which is still at Conrad Graf’s shop for repairs.] Piano maker Leschen is more agreeable, and Karl believes he would loan a piano as well.

The soup has venison in it. Karl computes the amount of coffee money allotted to the housekeeper, which amounts to 60 beans in value. Karl says, “My time is limited—I have to leave in order to manage things. I will take care of everything with the housekeeper.” Karl leaves, and returns probably a few hours later.

He has in the meantime visited Passy (who lives near Karl’s rooms) and told her she was hired. “She was exceptionally happy to come here. — She only wishes that the maid [Marie Stiegel] could sleep in the front room.” Uncle Ludwig asks whether Passy will want a Spanish wall barrier, an expense that he did not want to pay with one of the previous housekeepers. Karl says that “By the time she gets up or goes to bed, there will be no one in the front room, so she will not need a Spanish wall.” They don’t have to say anything to the maid until Passy gets here, though.

Uncle Ludwig brings up the subject of a tour of England, one of his fondest projects, again. But for how long would he need to get a passport? And how would he collect his pension if he were in England? Karl tells him that he can just apply for a one-year passport. While he’s away, if he needs an extension, he can apply for it. “If all goes well abroad, which I do not doubt, then you won’t need the pension.” Karl jokes that they still need to get to know the English beefsteak [Karl uses the English word, which he has done several times before; it appears to amuse him.]

The asparagus has gone bad.

Uncle Ludwig is thinking again about a complete edition of his works, but who should he have publish them? Karl suggests that he make applications to a variety of publishers for proposals. For example, he could accept the proposal from “Sauer et Leidesdorf.“

Uncle Ludwig raises some other issues related to the housekeeper, including the shopping and cooking. Karl tells him they can talk with her about that when she comes the day after tomorrow at 7 o’clock. Then she can shop and cook at once. She’s very good, but she is on her own. Passy was once very rich. “Her sister is a baroness and has two estates; but she does nothing for her.” Uncle Ludwig asks how he knows this. Karl says that’s what Frau Schlemmer says. She also says Passy’s house was one of the foremost here in Vienna.

Karl discusses other families who have fallen on hard times. Parish, owner of the Fries banking house, squandered 15 million florins; his brother bought an estate and became a baron. He went through his brother’s books but said he could not be helped. The Fries banking house was once the foremost in Austria, and now suddenly it is bankrupt. But Herr Fries got out of the business shortly before it went under; he has nothing to say about it any more. Parish was the actual owner; Fries is long gone. The paper money keeps getting devalued and will surely disappear in a short time. Uncle Ludwig wonders whether that will affect his pension [which has been badly injured over the years by inflation and devaluation of currency]. Karl assures him that the pension is paid in C.M. and thus should not be affected. Paper money really should disappear, he thinks; it is actually not money at all. Everything will become cheaper.

Karl leaves. Later today, former unpaid assistant Anton Schindler comes to visit Ludwig, asking that he be allowed to bring a visitor, opera singer Nanette (Anna) Schechner. “I have come to ask for your permission to present Delle Schechner to you; she is longing to make your personal acquaintance.” Schindler tells Beethoven that Vienna has never heard anything like her; if she had an Italian name she would be considered greater than any singer in the world. Beethoven asks where she is from; Munich is the answer. She has studied under Fernando Orlandi (1777-1848), and one other [Domenico Ronconi, former director of the Italian Opera in Vienna, now based in Munich.]

Schindler has more kind things to say about her: “Nature has treated her most lavishly; 3 others could have been endowed with the share [of talent] she got. Milder falls far behind here.” Today she is singing in Don Giovanni, and then later Fidelio. Beethoven asks who has been engaged as the kapellmeisters at the Kärtnertor Theater. Joseph Weigl and Adalbert Gyrowetz currently; then Conradin Kreutzer in September. Wenzel Würfel of the Warsaw Conservatory and Karl August Krebs will be coaching.

Friedrich August Kanne’s proposed opera is not going forward. Kärntnertor Theater director Louis Antoine Duport returned the book, Die Mainacht oder der Blocksberg, to him with just the words: au Plaisir de Vous voir. [Looking forward to seeing you.] “I cannot disagree with Herr Duport, although I am very sorry.”

Schindler is surprised that Conrad Graf still has not finished working on Beethoven’s Broadwood piano. He wonders whether Graf is unable to make the adjustments he had proposed. “I urgently beg you not to let yourself be deceived; presumably he wants to profiteer from your name; this seems to be his plan.” [This was, of course, Schindler’s own plan, so he appears to be engaging in projection here.] Graf has a Broadwood of his own. “Such speculators are capable of doing anything; moreover he may think that you do not care much about it, or whatever is going on.—He is also a Pater Noster Gässel insider” [i.e., close with publisher Tobias Haslinger.]

Beethoven consents to Schechner’s visit, to Schindler’s joy. “If Miss Schechner can take some time off tomorrow during rehearsals, we will come around 5 o’clock, perhaps accompanied by her mother, who is a splendid woman. In her you will find no beauty, but you will get to know a very pretty brunette and a nice girl, who apart from her art also takes care of domestic affairs, for there are 10 children, who she supports and has educated with her income.” What! exclaims Beethoven. Has she brought ten children with her to Vienna? No, Schindler explains, she has only brought her mother, a sister and a brother with her.

“You can invite her for dinner some time; she is a very simple girl and without the slightest pretension; you must know that she is not embarrassed to wash and iron for her younger brothers and sisters.”

Beethoven asks after his attorney, Johann Baptist Bach, for whom Schindler had clerked years before. “Dr. Bach causes me much and unexpected annoyance, as he does very little or nothing about my affairs with [Josepha von] Scheidlen [who took over management of the Josephstadt Theater after her father’s death last year, and refused to let Schindler have his promised Akademie benefit concert there, since he was now working for the competing Känrtnertor Theater] and has not even filed a complaint yet. I do not deserve this from him, but asking does not help — In short, I have already cursed all attorneys and their consort….He puts me off from week to week, now almost 3 months have gone like that.”

[Schindler skips over leaf 31, which is filled in later, probably tomorrow.]

“This is the first favor he could show me, though not for free, because I helped him for free over 2 years to manage his business, when he had no office. I only did that as a favor, since I was then working for the Archduke Anton.” Beethoven suggests that he could find another attorney. “I understand that; however, I need a publicly accredited man who advocates this matter.” It would only cost an hour of his time, but it’s all in his hands now.

Beethoven mentions that he is still trying to get payment for the last quartet (op.130) from Prince Nikolai Galitzin in St. Petersburg. Schindler is surprised, and asks whether Beethoven has still not written to the embassy as he intended to do. Who would I write to at the embassy, Beethoven asks. [Ludwig Graf von] Lebzeltern (1774-1854), the Austrian ambassador and Minister Plenipotentiary in Petersburg, Schindler suggests. [Unbeknownst to Schindler, Lebzeltern has been removed from this position earlier this year, because his brother-in-law Prince S.P Trubezkoi was one of the Decembrist revolutionaries.] “Just send him a letter through the embassy.”

“Now, my great master, if I am not here tomorrow by 5 o’clock with my interesting companions, it will be because of obstacles at the theater. But we shall come one of these days at the same time. Beethoven suggests that the ladies can come visit him without Schindler if necessary. Schindler says, “Then you will have to authorize me in writing, otherwise she [Schechner’s mother] will not believe me. I am not yet so intimate with Fr. Schechner that I can expect her to believe my words unconditionally.” Beethoven says he will send for them, and Schindler asks whether the maid still knows where he lives. [Probably not, since when he was Beethoven’s assistant was many maids ago.]

Conversation Book 112, 22r-30v, 32r-33r.

• slippers
• sheets
• scarves
• handkerchiefs
• slippers [The appearance of slippers twice on the list suggests that Beethoven may have added items over more than one day. He had also noted that slippers were available in the Wollzeile on Saturday, June 10 while he was out and about. Slippers will appear on the shopping list yet again on Friday, June 16.]

Conversation Book 112, 21v.

Part of today’s conversation book entries are found on two loose leaves held by the Bonn Beethovenhaus. BH 53, pp.35-38. The date can be determined from a reference to a court procession which occurs today.

Unpaid assistant Karl Holz visits Beethoven and tells him that publisher Mathias Artaria promised to send the parts of the new quartet, op.130, as soon as the first proofs have been printed.

Holz tells Beethoven an anecdote, which Nephew Karl had already related a few days ago: “8 days ago, 12 journeymen came to the police here. They brought their travel books from Munich in order to have them signed here. In each of these books was found, signed from Munich: ‘In the absence of my police officer: [King of Bavaria] Karl Ludwig.—They said that they had waited in front of the doors to the bureau in Munich during the normal open hours, and then the King passed; he asked why they did not go inside and let themselves be served; the answer was that there was still no police officer present; then the king had the bureau opened at once, and signed the travel books himself. That is a bit like Emperor Joseph [II].”

Holz notes that there was a second procession for the Court today, to obtain Jubilee indulgences from the Church. [The indulgences required a commitment of marching in two separate processions.]

There is an art exhibition in Vienna, which opened on May 25. Holz went to see it this morning. “Few works of art, much smearing. Our most excellent painters have to resort to portrait painting.”

The topic shifts to the planned oratorio on David and Saul, the libretto for which is being written by poet Christoph Kuffner (1780-1846). Beethoven fears it will remind people too much of Handel’s oratorio on the same subject. Holz tries to reassure him, “Kuffner’s project is quite different.” In any event, “Händel’s oratorios, except for Jephta, Messiah, and some larger ones, are not so popular anymore; one hears it and sees it, unfortunately. Moreover, Saul by Händel is less extensively developed, so far as the text is concerned, than the one from Kuffner.”

Beethoven frets about the possibility that someone will perform both of the oratorios in a single concert, and that preconceptions would make Handel’s version seem superior to his. Holz adds, “By the way, such a combination, or as you think, biased comparison, cannot be avoided, even if your oratorio were performed first. Who vouches that Mosel would not arrange it so later?” Beethoven is unconvinced. Holz adds, “Great masters have always come to a meeting of minds on the choice of subjects; the execution, the form however has always been different, and how different would it be with Beethoven!” He asks whether Holz knows for certain that Mosel plans such a stunt? Holz clarifies, “I do not think that Mosel knows about your intentions. I rather think he himself would renounce working on a performance of this [Handel’s] oratorio when he learns that you are writing one on the same subject.” Based on his misgivings, Beethoven suggests that they should not proceed with Saul. Holz tells him that in that case, it would be best to inform Kuffner as soon as possible.

Holz notes that Moritz Graf von Dietrichstein (1775-1864), director of the Hoftheater since 1821, was appointed as Prefect of the Court Library. [This occurred on May 30, so this conversation definitely takes place after that date.] He has been relieved of his duties as Court Councilor for Music and as theater director.

Graf Leonhard Harrach, with whom Holz works at the Lower Austrian Revenue Office, has applied for the position of Court Councilor for Music in Dietrichstein’s place. “He mentioned in his application that 20 years ago he played the flute a little and also that he had hosted quartet performances in his house.” [Harrach was appointed to the position on June 13, so this conversation occurs before that date.]

The London Philharmonic Society gives its eighth concert of the season this evening, with Sir George Smart conducting. The death of Carl Maria von Weber a week ago at the home of Sir George is marked by the performance of the Dead March from Handel’s Saul; this same piece will be played when Weber is interred later this month.

The first act of the concert concludes with Beethoven’s Egmont Overture. The second act includes an encore performance of Beethoven’s String Quintet op.29. Other pieces on the program include Mozart’s Jupiter Symphony and Magic Flute Overture. The Harmonicon for July, 1826 (Nr.XLIII) at 152 merely says, “Of Mozart’s Symphony, and the two Overtures, all of which we have so frequently mentioned, we need only say that they were executed with the utmost precision, and heard with unabated satisfaction.”

The Quintet was performed by the same group as in the seventh concert, except Charles August de Beriot takes the first violin part in place of Christoph Gottfried Kiesewetter. The other artists are again Antonio James Oury, Joseph A. Moralt, Charles Jane Ashley, and Robert Lindley. The Harmonicon remarked, “The Quintett strengthened our opinion of M. Beriot’s abilities, though some few thought that he wanted warmth and energy in his mode of performing it. To us, however, it appeared perfect, and exactly in the style that the author himself would have approved.”

Today’s Wiener Zeitung, Nr.132, at 562 includes an advertisement from S.A. Steiner & Co. for Beethoven’s Rondeau brilliant from Concerto op.75 [sic; should be op.73] arranged for piano four hands by Friedrich Mockwitz (1785-1849), for 1 florin 30 kreutzers C.M. On the same page, there is an advertisement from T. Weigl of the Caprice for pianoforte, op.108, by Beethoven’s former pupil Carl Czerny.

They discuss the possibility of going out to the country (possibly to Baden) for the summer. Just going out to the country would be enough for Uncle Ludwig, Karl suggests. The water of the baths doesn’t seem to help him. They could go out there in 8 days [Monday, June 19].

Karl reports that 4 lion cubs were born yesterday at van Aken’s menagerie. Brother Johann would have liked to go to see the menagerie but it was too expensive for him. [Karl implies that Johann is cheap.] He bought an old wagon somewhere that he has refitted so that it looks almost like new. He still has the pharmacy in Linz.

Ludwig asks how the Schiller drama, Die Braut von Messina [The Bride from Messina] was at the Burgtheater last night. “It was very well performed. A certain Stein [Eduard Stein of the Leipzig City Theater] performed as a guest in the part of one of the brothers; he acts very well.” Heinrich Anschutz (1785-1865), an actor at the Hofburgtheater, was one of the choir leaders.

They need to send the empty jugs [probably for wine] to Brother Johann. Karl suggests tapping both kegs remaining. “In the tavern you won’t get such wine for 2 florins.”

Karl mentions a pharmacist at Am Hof 324, “Zum weissen Engel” [At the Sign of the White Angel], who copies all mineral waters so well that they taste just as one finds them at the fountain, and thus better than the real thing that is bottled and sold here in Vienna.

Karl has a lot to do because exams are coming up soon.

Uncle Ludwig is depressed about how others see him. Karl in some fairly profound analysis that will be borne out by history, tells him, “Your shadow already comes from those who envy you; I do not need to add to them by coming here.” The small composers are annoyed because they do not think of things like Beethoven’s compositions. It is easy to understand. “How did it go with other great men: For example, the great [Hernán] Cortez, one of the greatest men who ever was and ever will be.—He also had his enemies, and precisely because he was a great man.” But he has the obstacle of his hearing, Beethoven complains. “That is exactly what must increase your fame. Everyone is wondering, not so much that you can write like that, but that you write like that in spite of this misfortune. I think that this even contributes to the originality that prevails in all your works. I do think that to other geniuses, no matter how great, a foreign thought might unknowingly intervene when they hear other compositions; this is not the case with you, because you create everything out of yourself.” Not to mention that it brings great interest for the publisher.

Karl observes that Schuppanzigh pleased very much at his recent May 11 concert in the Augarten, which featured three Beethoven works. A lot of the success depends on the execution.

Karl adds, “In my neighborhood lives one of the vice-kapellmeisters at the Kärntnertor Theater; he said to me recently that your Fidelio will soon be performed and that everyone is looking forward to it very much. [Fidelio is not in fact performed again in Vienna until several years after Beethoven’s death.] Uncle Ludwig declares that he should write more operas. Karl agrees, “Operas would be best!” The spirit is youthful, he adds.

The housekeeper has bought schnitzel. Karl wonders that Holz never showed up yesterday. Karl leaves early. “I also have to get up early tomorrow, and it is a long way [to his rooms].” Uncle Ludwig laments that Karl is so far away. Karl reminds him, “You yourself read about the apartment [in the Schwarzspanierhaus] in the newspaper and you took it yourself. I would prefer that we lived closer to each other.” Karl promises to visit his uncle the day after tomorrow [Tuesday, June 13].

Conversation Book 112, 18r-21v.

Beethoven writes to unpaid assistant Karl Holz possibly today, but sometime after October 17 1825 and before August 6, 1826, with some urgency about Nephew Karl and his studies. “I ask you to come as soon as possible so that we can arrange everything necessary. It is no small task. He wanted to leave early again.”

“Yours sincerely, Beethoven.”

Brandenburg Letter 2077; Anderson Letter 1490. The original letter appears to be lost; the text is from TDR V p.352, from a copy by Otto Jahn amongst Thayer’s materials.

Karl thinks all of them [probably overcoats] are too short. The piqué will not be expensive. Karl has given the tailor his uncle’s brown overcoat for repair, and the buttons on his blue overcoat looked bad. “You must not leave that for too long, or it will be completely ruined.”

Another candidate interviewed today, Elisabeth Passy, understands cooking very well, and she cooks in the same way that Uncle Ludwig explained to her. She thinks she will have to shop for all the supplies once a week. But she will divide it up in a way that satisfies him. She lives on the Krongasse with her four children, but she has a person who takes such good care of them she doesn’t have to be there herself. Uncle Ludwig is inclined to hire Passy, whom he has met before. She was the daughter of wholesaler Ferdinand Bertoli, and Beethoven had written a song in her album once. Now she has fallen on hard times; her husband’s business went bankrupt in 1817 and he is presently an office clerk. Cloth dealer Johann Wolfmayer, a longtime supporter of Beethoven (possibly related to the Bertoli family) will be pleased that he has hired her, Karl thinks.

Ludwig asks Karl his opinion of Passy. “I like her very much. I think you would be satisfied with her.—However [if Uncle Ludwig changes his mind] you can still postpone it; she does not live far from me, so I can easily go to her.” She hopes to gain honor from her service to Beethoven. She thinks that the portrait of Beethoven by Stephan Decker (1784-1844) that was published by the Lithographic Institute in 1824 is a very good likeness. Karl arranges for her to be paid 40 florins W.W. each month. She had to sell her silver for 800 florins in order to survive. “She says she only wants to have an honest income.” Burgpastor Jacob Frint (1766-1834) looks after her, and has promised to engage her eldest son Eduard as a boy chorister. “She asks you not to change your idea regarding her; and if possible, make up your mind soon. She would go with you to the countryside. She is used to the work.” Passy departs now.

Karl says he will go to her place and see what it looks like; that will give him an idea of how she keeps house.

Karl asks his uncle what he would like for dinner tonight. The menu is hot boiled chicken with noodles.

Karl does some computations and concludes that his mother Johanna has 416 1/2 florins W.W. from the pension, after the contribution for Karl’s education. Johann Caspar Hofbauer, the father of her illegitimate daughter Ludovika, has paid off her debts. He also took care of the sale of her house, which was inherited from Karl’s father, Caspar Carl.

Karl reminds his uncle that, “Once in Nussdorf, you composed a song for her [Passy], which you gave to her. Your brother tried to persuade her to give it to him, but she refused.” Johann lives very cheaply out in the country, on 24 kreutzers per day. Ludwig is patronizing towards Karl, who gets angry. “I am not a child.”

Karl changes the subject. He would like to go to see Schiller’s tragedy Die Braut von Messina tonight at the Burg Theater. They are doing the choruses in the style of a Greek tragedy. Uncle Ludwig makes a comment about how rich the language of Schiller is, compared to music that he is intending to write for the oratorio Saul; Karl jokingly points out that there are only seven notes to work with in the modes, while there are 24 letters. Perhaps Uncle Ludwig will get an idea from the history of music by Charles Burney, which had been sent as a gift by Burney’s granddaughter, Sarah Burney Payne. “Many things can surely be imitated from the old instruments.”

Uncle Ludwig despairs of being able to go out into the country this summer; it is already mid-June. Karl tries to comfort him; “If the money would come in, you could go to the country. She [Passy] would gladly go along with you.”

On top of the oratorio, he still has to write another quartet that he promised to Maurice Schlesinger in Paris. Karl reminds him that he also owes Schlesinger three string quintets. Uncle Ludwig doubts that Schlesinger will pay for them. Karl is adamant; “I have it from him in writing, that he will take them.” Uncle Ludwig reminds him that Schlesinger did not take the op.130 quartet. Karl puts the blame for that on Schlesinger’s agent in Vienna, Biedermann, who was afraid to act without instructions, and Schlesinger relied on him. But Uncle Ludwig should never be afraid to sell his work.

The Broadwood [Karl calls it “the English piano”] needs to be retrieved from Conrad Graf’s shop. The loaner from Graf is not as clear in tone as the Broadwood.

Uncle Ludwig wonders whether they could go back to Schloss Gutenbrunn in Baden again this year. Karl points out that the administrator of the Schloss said that they would be less strict on terms for him. “We could go out there one Sunday.”

Uncle Ludwig makes a note to get pencils. He goes out, probably to drink coffee and read the newspapers, and sees slippers are to be had at the Wollzeile, making a note of it as well. Karl goes to the theater; the show will be the subject of discussion tomorrow.

Conversation Book 112, 11v-17v.

Today’s Wiener Zeitung (Nr.131) at 558 includes an advertisement from S.A.Steiner & Co. for the newest published composition by Beethoven’s former pupil Carl Czerny, 3 Rondos pour le Pianoforte: Tendresse, Amitié et Confiance [Tenderness, Friendship, and Trust], op.117.

Uncle Ludwig suggests that Karl join him tonight for supper, after his examinations. “If you want me to come this evening, I shall try to make it possible. I only ask you to have supper ready by half past 8 so that it won’t be too late.” Uncle Ludwig asks how much pens cost. Karl replies, 1 florin 30 kreutzers a bunch. Ludwig says that’s too much, and Karl protests that Ludwig’s pens cost 3-4 florins. “I also need good ones,” Karl insists. He would prefer that they purchase their pens and everything else together to avoid suspicions, but that is not always possible when one is in a hurry. Karl leaves.

Not long later, unpaid assistant Karl Holz comes to visit. Beethoven asks Holz how to keep his tobacco from drying out. Holz tells him to put it in an earthenware bowl. “Then cut a turnip into 4 parts and put it in there; then it will always keep well, but the bowl must be completely clean and not have any odor. The tobacco needs to be ground sooner, though. It is all in a clump. Holz cautions Beethoven to put the tobacco away safely so the servants do not know about it. Such tobacco should cost about 45 kreutzers W.W.

Beethoven invites Holz to dinner, but he also declines, saying he has already been invited out today. Yesterday he was in Döbling in the country. He spends his evenings there with a friend, the stock exchange broker Franz Edler von Bogner (born 1774). [Later this summer, Holz will take Beethoven to Döbling and introduce him to Bogner. Holz will eventually marry one of Bogner’s daughters.]

The quartet op.127 is proving very popular; the copies of the quartet that Schott’s sent to Steiner are said to have sold out in the space of 14 days.

Holz asks whether Beethoven is satisfied with the current maid, Marie Stiegel. Beethoven’s response is not recorded, but given she lasts much longer than others, the impression is probably positive at this point.

Raphael Georg Kiesewetter believes that Ignaz von Mosel still does not know that Beethoven has chosen to write an oratorio on Saul [Mosel is putting on a performance of Handel’s oratorio on the same topic.] Kiesewetter can keep Mosel in line, since he is vice president of the Musikverein, which Mosel has always supported strongly. In any event, Holz believes that the interest in Handel’s oratorios has really died down. Beethoven takes umbrage at this comment, expressing his belief that Handel is unmatched. Holz says he is only speaking about the general opinion. He asks whether Beethoven is familiar with Handel’s Saul. [Probably not; they have previously discussed borrowing a copy so Beethoven would know what to avoid.] Kuffner is quite proud of the Victory Chorus that he has written. The most beautiful such one is in Handel’s Judas Maccabeus, [“See, the conqu’ring hero comes“] Holz says.

Holz writes a snippet of the third movement Allegro vivace from Beethoven’s cello sonata in F, op.5/1. He apparently conducts a bit of it, and asks Beethoven whether that is the right tempo.

Beethoven asks whether the problem with the foreign newspapers being passed around in the intellectual society Ludlamshöhle, in which poet Franz Grillparzer got entangled, has been resolved. Holz thinks not; it is still being investigated.

The four-hand piano version of the Grosse Fuge still needs to be resolved. Anton Halm, who did the arrangement, is still scared of Beethoven’s reaction and doesn’t dare to come and see him since he believes Beethoven is unsatisfied with his work. [He is not wrong.]

Beethoven writes a rude remark about someone unidentified, “Best Baron, we s— on your throne!”

Mozart’s Don Giovanni is to be performed at the Kärntnertor Theater [on June 13. The title role will be performed by Franz Anton] Forti, who is departing Vienna on June 20. He has a leave for July and August from the theater. Gaspare Spontini’s opera Ferdinand Cortez is also to be performed.

Holz asks whether Beethoven has heard from Schott’s in response to his letter offering the quartet op.131. Beethoven has not received anything yet. [Schott’s answers Beethoven’s letter of May 20 today, advising that the first part of the fee for the quartet was authorized by their letter of June 8 to the banker/wholesaler Franck & Co. Brandenburg 2161; the letter does not survive but its contents and date can be inferred from Beethoven’s original letter and his response made on July 12, Brandenburg 2168.]

Holz observes that Karl is almost finished with his studies, and then departs soon after.

At a coffeehouse, Beethoven makes copies of advertisements in today’s Intelligenzblatt for foreign wines at J.J. Ezelt & Son, and for a brine bath in Gmunden for rheumatic diseases. Karl Demuth is offering an improved and cheaper coffee machine.

Returning back to his apartment, he is joined by Nephew Karl in the evening for supper as they had planned earlier. Uncle Ludwig tells Karl about Holz’s method of keeping tobacco moist. Karl asks whether the tobacco has been smuggled.

Karl mentions that Marie Louise (1791-1847), daughter of the Emperor, was at the Polytechnic Institute today to see it.

Karl asks his uncle how the dinner with the Breunings was last night. Uncle Ludwig says it was good to see them; Stephan’s wife went to the country today. Karl observes that he loves her very much.

Frau Schlemmer, Karl’s landlady, knows about a housekeeper for Uncle Ludwig, and she has made an appointment for tomorrow. If Ludwig is satisfied with her cooking, she could stay here with him and work alone. Having a maid makes it harder to find a housekeeper; there were 2 here that interviewed, but they wanted to work alone.

Karl mentions that he often walks in the Schwarzenberg garden.

For supper they have spinach with brain, and pike. Uncle Ludwig makes a note that he gave Karl 2 florins 40 kreutzers. [It is unclear whether this was for the pens earlier today, or is in addition to those funds.] Although it is Friday night, Karl returns to his apartment since he has to interview housekeepers there in the morning.

Conversation Book 112, 3v-11v.

Publisher Adolph Martin Schlesinger writes Beethoven from Berlin today. He accepts Beethoven’s offer of the Gratulations-Menuett, WoO 3; and the Entr’acte [to the 1805 version of Leonore], WoO 2b. Brandenburg Letter 2162. The letter is not known to survive, but its existence and contents are known from Beethoven’s letter and Schlesinger’s registry notes written on it.

Beethoven’s publisher in Mainz, B. Schott’s Sons, writes a letter to bankers Franck & Co. today, instructing them to deliver 40 ducats to Beethoven as the first installment of payments for the new quartet op.131 upon Beethoven turning over the manuscript to them. The letter is not known to exist, but its contents can be inferred from the receipt of August 14, 1826. Brandenburg Letter 2160.

Sometime about now, Beethoven begins using Pocket Sketchbook Autograph 10, Bundle 1, presently held by the Berlin Staatsbibliothek. This is a small book of 16 leaves, and it has survived intact, being assembled from two sheets of paper. Like its predecessor, this sketchbook was used exclusively for work on the Quartet in C-sharp minor, op.131. There is a little work on the fourth movement, and the bulk of the book is devoted to the last three movements. It is roughly contemporaneous with the sketch material in the Kullak desk sketchbook, folios 40-45.

This pocket sketchbook, bound together with the last sketchbook Beethoven used (Autograph 10, Bundle 2), can be seen here:

https://digital.staatsbibliothek-berlin.de/werkansicht/?PPN=PPN1666023671