• sugar.—
• to dr Bach [Beethoven’s attorney, Johann Baptist Bach, regarding the problems with the Steiner music shop and Tobias Haslinger]
• soap

Nephew Karl visits Uncle Ludwig today. Frogs will cost 3 kreutzers each. He opines that the Steiner music shop will get a real scolding if they keep the title [of opp.114 and 116] like that, suggesting that the works were written for piano, rather than orchestra. “In any case, they will not be allowed to.”

The laundry woman is there. She asks if she is to buy the water and what she should get. Water from the Danube, which Karl thinks is better, is 2 florins 30 kreutzers. He reminds his uncle to have the servants give him accounts of the finances every day.

The administrator of Schloss Gutenbrunn in Baden comes to see Beethoven; Karl writes on his behalf for the most part. He asks that Beethoven should write if he is interested in renting the apartment again this summer. The administrator will make sure the apartment remains Uncle Ludwig’s, and he would let him have it cheaper than last year. The administrator also notes there are several beautiful houses for sale in Baden. He then departs.

Karl makes arrangements for dinner: potatoes, and cabbage stewed with Kaiserfleisch [young, tender, smoked pork,] cut into pieces. Karl asks whether his uncle would like salad. The housekeeper asks for money to go shopping. She has spent 1 florin 46 kreutzers on the morning shopping, and now she is going out again.

Karl has to go, and tells his uncle “Tomorrow, I’ll see you at mid-day.”

After he leaves, Uncle Ludwig makes another note:

• Saturday 9 eggs.

Conversation Book 108, 21v-24v.

A benefit concert is held at the Hanover Square Rooms in London by Mr. Greatorex. The performance included a selection from a Mass by Beethoven, produced for the first time in this country. The Harmonicon for June 1826, Nr.XLII at 131. Since the Mass in C had been performed in England numerous times previously, this must have been part of the Missa Solemnis.

Beethoven asks whether his old housekeeper Frau Lindner has stopped demanding her payment. [A substantial amount had been withheld by Holz for all the crockery and glassware she broke.] She does not come any more, Holz says. “I let her know that if she dared send you a letter ever again, I would go to the police and disclose everything, which should have been done a long time ago. Since that threat, she no longer shows herself.

Holz ran into Brother Johann, who has been by the apartment in the Schwarzspanierhaus twice, and not found Ludwig at home. “He always asks me to persuade you to come to his place, at least to the countryside. I answered him that if I would like to see you angry, I would tell you.”

No proxy is needed to collect Karl’s pension. He can draw the money on official paper, but the required signatures and proof Karl is still alive must always be there. Without them, the payment won’t be made under any circumstances. Even the certificate from the priest? Yes, Holz says, it must always be there. His pension is a personal right, and it cannot be transferred to his mother Johanna. Giving Johanna the sheet of paper to collect the money directly would be even worse than giving her the money, as they are currently doing. There are so many profiteers who lend money at inhuman interest rates on such security; that would plunge her into even greater debt.

Holz stopped by Mathias Artaria’s shop today to talk about the piano arrangement of the Grosse Fuge. He has already talked to Anton Halm about making the arrangement and so far as Artaria knows, they have an agreement. If they did, then Artaria gave him an advance of 40 florins C.M. “I know him, he is not a Steiner.” Beethoven can draw the money as soon as the arrangement is ready.

When the oratorio that Beethoven is planning to write with Christoph Kuffner is finished, Ignaz Schuppanzigh should notify conductor Joseph Weigl.

Holz asks Beethoven (presumably on behalf of the housekeeper) what he wants for supper. Beethoven lists off four courses, including soup. Holz opines that 4 courses are really too much if everything is prepared well. The housekeeper was apparently expecting that they would have had mid-day dinner earlier than half past 2. The roast needs to have time, otherwise it will be either soft or burned.

They held a military mass today in honor of the Emperor and his recovery from his serious illness. “Once again, thousands of gulden were wasted; the generals’ most beautiful uniforms were soaked by rain. [It rained in both the morning and afternoon of April 13.]

Van Aken’s traveling menagerie is back in Vienna. But his Bengal tiger died. It was ill with a cold for 4 months. Now it is at the University, being dissected and prepared for taxidermy.

Brother Johann and Nephew Karl join the pair. Johann’s wife Therese is in the countryside for the day. He just came from the third Concert spirituel; today they performed Cherubini’s Solemn Mass Nr.2 in D minor in the Landständischer Saal. Cherubini’s Mass was the only work on the program. “Most people had no sense for this music, many went away during the performance. The applause was also very sparse.”

Johann asks whether there has still been no reply from Prince Galitzin. There has not. “You ought to write again yourself, and bring the letter to the post office yourself, but soon.—” Ludwig wonders whether he ought to get his attorney, Johann Baptist Bach, involved. Johann says Dr. Bach can take care of it for him.

The new quartet, op.130, probably should be performed again soon. Johann thinks Schuppanzigh is too lazy to do it again; Professor Joseph Böhm and Joseph Mayseder both want to perform it soon. Johann definitely wants to hear it again; he thinks Schuppanzigh could probably get 1,000 florins if he did it at an Akademie benefit concert.

Johann cautions Ludwig against eating anything in the evening for a few days. “Diet is the best medication,” which is somewhat interesting advice coming from an apothecary.

Bell founder Johann Caspar Hofbauer, the father of Johanna’s illegitimate daughter Ludovica, has paid off Johanna’s debts to the extent of 30,000 florins. [Johann appears to depart at this point.]

Holz mentions that he went to see Head Censor Franz Sartori; Tobias Haslinger did not show up to dispute Beethoven’s allegations. “Tobias does not look at me any more.”

The sound dome that Graf is making for Beethoven’s Broadwood piano to try to make it audible for him should be finished in a few days.

Beethoven asks whether Holz visited Mathias Artaria today. “I was only there a few minutes in order to talk to [Anton] Halm about the Fugue; but he did not greet me, he was only looking at his own nose.” [Holz might mean Halm did not even look up at all.] Holz was there at mid-day and was asked to come back at 6 in the evening.

Nephew Karl is heading home, but he would like to borrow a volume of the Wiener Zeitschrift to read before he goes to bed. Holz agrees it is better for him to read such things than to go out to the coffeehouse.

The transfer of the Steiner music shop to Haslinger has been implemented; it should be publicly announced within 8 days. The Magistrate signed off on the handover 10 days ago.

Schuppanzigh plans to give a morning concert in the Augarten again this year, on May 1. [The concert is actually held May 11.] But it is very doubtful whether he will make any profit. If the weather is fine, people go for a walk; if it is bad, no one goes out at all. A well-attended concert in a large hall usually does not bring in more than 600 florins W.W., because of the many free tickets, high taxes, and other expenditures. An Akademie concert had been announced for the occasion of the Emperor’s recovery. [That concert will be held on Monday, April 16.]

Beethoven is having rice with egg for supper.

Holz makes a comment about a composer [Schindler indicated in a marginal note that it relates to a four-part Mass by Tobias Haslinger, who did have pretensions to being a composer.] He worked on it for a whole year, and had assistance. “He can hardly write a two-part bar; his teacher [Jan Nepomuk] Dolzálek (1780-1858) did most of it.” Publishing something like that is the “greatest wretchedness,” Holz thinks. “I said to him that he ought to write upon it: 1st work. Otherwise, a mistake could easily arise later.”

Holz departs.

Conversation Book 108, 13r-21r.

Publisher Maurice Schlesinger writes to Beethoven today from Paris, inquiring about the quartet, op.130, which he had been promised by Beethoven last fall. [Schlesinger’s agent in Vienna, not having heard from Schlesinger in some months, refused to pay Beethoven for the quartet, despite their agreement, and Holz convinced Beethoven to sell it to Mathias Artaria instead.] Schlesinger voices his suspicions that Ludwig has sold it to Brother Johann. He also reminds Beethoven of his promise to write three string quintets for him. Schlesinger also asks about the copy of the quartet op.132, which had been commissioned in September of 1825. He finally inquires about Beethoven’s travel plans, and the well-being of Nephew Karl.

Brandenburg Letter 2146. The letter is not known to exist; its date and contents are inferred from Beethoven’s response to Schlesinger on April 22.

Artaria then shows Beethoven some of his publishing handiwork. He also trades in engravings, and shows Beethoven a deluxe 4-volume set of the Musée français and its treasures, at massive folio size, which sold for 6000 florins C.M. [The set was published in Paris, not by Artaria.] It includes 720 copper engravings of the original paintings that were in the Museum in Paris under Napoleon. He shows Beethoven the engraving of Laocoön and his sons by Charles Clément Bervic (1786-1822). Artaria says it looks just like marble; the engraver lost his eyesight over it. “One sees Beethoven in his compositions.”

Then Artaria shows them an engraving of a view from the highest mountains in the world, starting in the Himalayas. Holz imagines Beethoven on top of those mountain peaks, composing. Beethoven mentions Chimborazo, the volcano in Ecuador on the Cordillera range of the Andes [the tallest peak in Ecuador, displaying the surprising breadth of Beethoven’s knowledge.] Artaria says Cimborasso is high, but the Himalayas are higher. The mountain in the engraving is “somewhat taller” than the Kahlenberg [the hill in the Vienna Woods nearby], Artaria jokes.

Beethoven and Holz have to go. Artaria invites them back; it would take 2 years to see everything he has. “You must come often and very soon again.”

Conversation Book 108, 11r-12av.

Today’s Leipzig Allgemeine musikalische Zeitung Nr.15, at 254, a correspondent recounts the concerts in Magdeburg during the first half of the winter. Among the symphonic works given was Beethoven’s Symphony Nr.1 in C major. The Symphony in E-flat of Beethoven’s pupil Ferdinand Ries was also performed during that period, and is described as “a very beautiful piece, solid throughout, far from any kind of search for effects, and clear. The orchestra was good, but the fact that Herr Mühling did not play the violin solo himself, as he usually does, did the audience no favors.”

The Intelligenz-Blatt supplement to today’s AMZ (Nr.VI) offers Beethoven’s Fifth and Sixth Symphonies, in full score, from Breitkopf & Härtel in Leipzig, for a price of 5 thalers each.

Today’s Berliner allgemeine musikalische Zeitung Nr.15) at 118-119 contains a fanciful review of an arrangement of the March (Nr.8) from The Creatures of Prometheus, op.43, “Musique de Ballet en forme d’un Marche,” for piano 4 hands, by Louis van Beethoven, published in Leipzig by Hofmeister. [The uncredited arranger is Carl Friedrich Ebers (1770-1836).] “The writer [probably editor Adolph Bernhard Marx] does not know of a more amusing piece of music by Beethoven. It is a ballet for tightrope walkers, the Kolter family [a reference to tightrope walker Wilhelm Kolter (1795-1888), which also serves as a play on the arrangement’s dedication to the Kobler family]. Why not? Bajaderen [Indian temple dancers], Bacchantes or tightrope walkers!”

As Goethe writes in Faust, if you just get something right about the fullness of the human condition, it is interesting. “And Beethoven succeeded in doing that here; he lets his tightrope walkers march past so cheerfully and legendary that we find ourselves in the circus among the cheering crowd, and we want to cheer along with them for the colorful jugglers and charmingly floating people of the air. And everything happens in the best, most faithful order. The drums and trumpets call out cheerfully and with increasing emphasis, preparing for something important, God knows. What follows? A little march that one might almost call ordinary, if it weren’t so funny. Now the rope has been climbed, but it goes with difficulty and fear. Of course the beginners start, and the trumpet blows quite foolishly and clumsily in between. Is there any homemade sausage there too? Well, the scene is soon over; the march entertains us in the interlude and soon we are delighted by very dainty, airy jumps…. That ends in a more noisy way! But now, after a repetition of the march, comes the tour de force. Or is it a battle scene, soldiers and robbers, or something like that? An unconscious parody of our theater spectacles? It’s wild and efficient, but still funny, and so it moves from the key of D major to end in F-sharp major, not without enough noise. Now it comes to a happy end with graceful, pleasant turns, and a rustling encore from the march sends us home satisfied and in high spirits. It’s nothing but an evening of tightrope walking that we’ve just experienced, but the enjoyment was pure and true.”

The piece is also available for large orchestra. “Incidentally, the incorrectness of even the title (un marche, cette piece se trouvent, daus) and many passages of the arrangement before us raises discontent.”

Beethoven had done his own arrangement for piano solo of the entire ballet, the seldom-heard Hess 90, which had been published by Artaria in 1801 as Beethoven’s op.24.

In London this evening, Carl Maria von Weber’s new opera Oberon is given its first performance at the Royal Opera House, Covent Garden. As the composer arrives to conduct the premiere, he receives a standing ovation with cheering and waving. The overture and each number are encored, some of them twice. Notwithstanding this success, Weber had difficulties with the libretto by James Planché. It did not help that he received each act as it was written, so he could not gain a firm conception of the entire work until it was well along. He also was unhappy with the extremely large number of characters, and in particular the omission of music during important moments of dramatic action. Weber wrote to Planché on February 19, 1825, “I must repeat that the cut of the whole is very foreign to all my ideas and maxims. The intermixing of so many principal actors who do not sing, the omission of the music in the most important moments,—all these things deprive our Oberon the title of an opera, and will make him unfit for all other Theaters in Europe; which is a very bad thing for me.”

Bernard Haitink here conducts the Overture to Oberon, performed by the orchestra of Covent Garden:

Sauer & Leidesdorf in today’s Wiener Zeitung (Nr.83) at 364 announces the 22nd volume of their Complete Operas of Rossini for piano solo, Il matrimonio per Cambiale, at the subscriber price of 6 florins W.W.

At Schuppanzigh’s, the violinist expresses his and his wife’s regrets that Nephew Karl could not come. He asks whether Beethoven is going to retire. Holz introduces Schuppanzigh’s daughter, Theresia, saying she has a great gift for music. Her piano teacher Fraulein Katharina Hohenadel is also at the dinner, as is poet Christoph Kuffner. Holz comments on the thunderstorm yesterday afternoon. Schuppanzigh offers them genuine Ofner wine, which was one of Beethoven’s favorites.

Holz is expecting to hear from Augustin Lipscher, the Imperial courier who travels to Russia, with hopes for transmitting the ducats owed for the op.130 quartet from Prince Nikolai Galitzin without dealing with the banking houses. Holz says Schuppanzigh is not a Krumpholz [Wenzel Krumpholz (1750-1817), violinist from Bohemia, who had given Beethoven lessons for a while.] Krumpholz’s sudden death by stroke was unexpected and is against the law of nature.

Nephew Karl is the subject of discussion, as they talk about his skills and his desire to become a businessman. She [probably his mother Johanna] let him learn how to dance. Holz wants to discuss Karl’s pension. “Mylord [Schuppanzigh] has grown very fond of him.” “The apothecary” [Brother Johann] cannot be compared to Karl’s father, Caspar Carl (1774-1815).

Schuppanzigh jokes that Johann says that if he were Ludwig, he would be swimming in money. There are also pokes fun at the typographical error on Steiner’s proof of the Terzet op.116, which in place of “Tremate, empi tremate” has the nonsense word “Tromate.” There is discussion of the habits of various violinists.

“An old flame never dies. Stay single! says Papageno.” There is discussion of an unidentified female singer, whose husband will not let her sing any more, out of jealousy. She has sung at his concerts before.

The head censor, Franz Sartori could not remember whether he had granted Tobias Haslinger permission to print the works by Beethoven. If the publication of the works [op.114 and 116 with the implication that they were originally written for piano, rather than orchestra] had occurred, it would not be easy to remedy. If they have been published that way, they can still put it in the proper light in the foreign newspapers. Steiner has asked Holz to come tomorrow; the Secundus [Haslinger, the “second Tobias”] will probably have been with him today.

Someone, possibly Fraulein Hohenadel, brings up instructional books for beginners. She opines it is best to begin with the scales in all keys with both hands, and asks Beethoven whether that is true. Beethoven disagrees, and Holz comments that it also tires a child and completely extinguishes the joy of playing. But she regularly comes to the Schuppanzigh Quartet concert; she is always attentive and has told Holz that the quartets by Beethoven were the best in her opinion.

As the evening is drawing to a close, Kuffner approaches Beethoven and says he wants to give his opinion on Bernard’s libretto to Der Sieg des Kreuzes in writing. But he thinks Bernard “completely missed the target.”

Holz has to leave; he is going to the concert of Jacques-Féréol Mazas, held at the Theater an der Wien. Holz crudely remarks about Mazas, “He likes the men from behind, an idler. Rich parents’ son, a Dutchman, just a gentleman with money.” Beethoven appears to leave at the same time as Holz, but presumably goes home instead of to the concert.

Conversation Book 108, 5r-11r.

Today’s Wiener Zeitung (Nr.82) at 359 includes an advertisement for Carl Czerny’s Musical Decameron collection of brilliant and easy compositions, for piano solo (op.110) and piano four hands (op.111), offered by Cappi & Co.

• Laundry foot muffs woolen pants and flannel vests—
  —
  About the kitchen maid
  mi dear : etc Linz
• Sea salt baths in the Dianabad [these baths used water from the Danube, but they also had artificial sea salt baths available.]
  —
  Night lamps
• glasses
• Chamber pot

Conversation Book 108, 4v. Brother Johann had an apothecary shop and other property in Linz, but it is unclear what Ludwig is referencing here. In a few days, Beethoven will ask unpaid assistant Karl Holz how to pronounce “mi dear” and whether it refers to a male or female. Where he has gotten this phrase is unclear.

There is a thunderstorm at about 2 in the afternoon today.

Roughly about now, Beethoven begins using pocket sketchbook Autograph 9, bundle 3, held by the Berlin Staatsbibliothek. This homemade sketchbook presently consists of 28 leaves, though it seems likely at least several leaves have been removed and those that remain are probably not in the correct order. Like the succeeding bundle, which starts being used in a month or so, this pocket sketchbook is primarily devoted to the fourth movement of String Quartet op.131, a theme and variations. There are sketches for all of the final variations, as well as several variations that went unused. There are also ideas for a Scherzo movement, work on which will continue in bundle 4, but will ultimately be abandoned.

This sketchbook is roughly contemporaneous with leaves 25-32 of the Kullak desk sketchbook. A note in the margin of the first page is connected to a letter to Karl Holz dated April 26, 1826, Brandenburg Letter 2150; Anderson Letter 1482, as well as conversation book entries from about the same time. This sketchbook was thus probably in use then, even if that marginal note was added after Beethoven had already begun working in the sketchbook.

“Ludwig van Beethoven”

“I wanted to inform you of the above as a courtesy, so that you may act accordingly, for I will never permit these works to be published under the titles you have assigned to them”

Brandenburg Letter 2145; Anderson Letter 1480. The original letter is held in Copenhagen at the Royal Library (Ny kgl. Saml.4127, II, 4°). Haslinger’s notation on the address side reads “Beethoven – 1826/Vienna – 9 Apr./received – 12 [Apr.]/ answered.” Haslinger’s reply is not known to survive.

Conversation Book 108 begins being used today. This is a substantial book of 52 leaves. Page 18v is blank and was crossed out in red by Anton Schindler. Schindler correctly identifies the book as belonging to the spring of 1826. The book continues to be used until a few days after April 16. Conversation Book 109 begins being used on April 21, so there may be a book missing in between.

Unpaid assistant Karl Holz has delivered Beethoven’s violins to the violin maker Bernhard Stoss to be restrung; he gave Stoss the key and told him what has to be done.

Holz and Beethoven go out to a coffee house or inn. Because of the Emperor’s recovery, and his first day out and about after his illness [he had been expected to die, and was given the last rites], there will be banners everywhere. In London it would be different, but the mob is quite rowdy here in Vienna.

Holz complains about taxes in the City; profit and income tax, class tax, house tax…but he knows an apothecary in Pressburg who pays 10 florins W.W. in taxes for the whole year. Here he would have to pay 1,000 florins C.M. [2,500 florins W.W.] in total.

Holz quotes two stanzas of verse, which remain unidentified. Possibly they were written by Holz himself:

Then he steals in with a cunning remark,
And grins at me from his own work:
It’s me, Master, only me, whose dwelling you vault,
See, your little work is worthless, and you yourself are worthless.

And shuddering I see it, beguiled by horror,
How my own self rages against me,
Curse my work and myself into the grave—
Then will he follow me there too, painfully agonizing?

There is a great commotion in the street, with people declaring that the Emperor is riding by. Later Holz will remark that the news has changed; it was only the Empress, not the Emperor.

Holz comments that they let Franz Grillparzer painfully feel that he is a poet; they let him sit 10 years without any salary. “The iron is only put to the test in battle.”

Beethoven mentions Julius Schneller (1777-1832), whom he knew through his friend Ignaz von Gleichenstein. Schneller had been a professor of history and philosophy at the Graz Lyceum. Holz agrees that he is excellent. “He was dismissed because he defended Emperor Joseph so much.” [Joseph was fairly liberal, at least as Habsburg emperors go, and supportive of the arts.]

Holz has been in contact with Nephew Karl’s mother Johanna; she claims that she has not heard from Karl in a long time. He offered her money from Ludwig; she said she did not need that much money at the moment. Holz told her he supposed she knew how to keep money safe. If she doesn’t need it until Georgi [April 24, when tenancies begin] then it doesn’t matter who holds onto the money.

Conversation Book 108, 1r-4r.

A musical-declamatory concert is held today at 12:30 in the afternoon, at the hall of the Gesellschaft der Musikfreunde at the Sign of the Red Hedgehog. The concert opens with an unidentified Overture by Beethoven. A handbill for the concert is seen nearby. The concert soloist is Johann Rüttinger, the son of Christian Rüttinger, clarinetist at the Burgtheater.

The concierge comes to the door to tell Beethoven that tomorrow the windows must be illuminated. [In honor of the Emperor’s first trip after his illness, the entire city was illuminated on April 9.]

The sick housekeeper is still at Beethoven’s apartment, though she is now able to get out of bed.

Holz mentions that the Wiener Zeitschrift from Thursday morning [the April 6 issue] contains something already about the premiere of the Quartet op.130. [Extensive quotations from this review were included in our March 21 column for the concert.] Ignaz Schuppanzigh’s wife Barbara asks Beethoven to come to dinner one day. Holz points out that Schuppanzigh has good wine; he bought it himself. He mentions Schuppanzigh’s young adopted daughter [Theresia]. She played the Andante from Beethoven’s 7th symphony. Beethoven asks when they want him, and Holz tells him Monday [April 10. However, Beethoven does not meet with Schuppanzigh and his wife until Tuesday, April 11.]

Beethoven makes a note:

• chamber pot.

Nephew Karl comes as well, but he cannot stay. “The days are not long yet, and in the evening I cannot write very nicely.” He thus would like to have dinner early. There is some confusion about the new housekeeper candidate. [This is no doubt the housekeeper who used to work for Frau von Schmid; Uncle Ludwig interviewed on April 4. Uncle Ludwig now seems to have changed his mind about hiring this woman.] A day after Ludwig spoke to her, Karl asked Uncle Ludwig whether he wanted to hire her, and Karl promised her the position because his uncle said yes. But Karl doesn’t even know where she is working now, and he cannot speak to her until Monday [April 10], when she is expected to show up at Uncle Ludwig’s apartment. “It was very important for her.”

The sick housekeeper is feeling better; she is no longer taking any medicine. As soon as the other housekeeper arrives [on Monday] she will depart. Karl says Frau Schlemmer [his landlady] knows why Beethoven has such trouble with servants. “She says she is convinced that almost everyone who hears about the position thinks: Oh, with a gentleman without a wife in the house, you can do whatever you want. However, they are often disappointed.” Karl will ask Frau Schlemmer about the prices on the market and write them down for Uncle Ludwig, so he has something to compare against when the housekeeper tells him what she paid for various things. Game and so forth is very inexpensive now. “We eat things like that almost every day, and certainly at a low price.” Moor hens are too expensive; in the City they cost 24 kreutzers, but in areas where they are plentiful they can be had for 6 kreutzers. Beets, potatoes and things like that can be bought any time as they are always in stock. “Women are damn stubborn; everyone believes they know everything already.”

Karl comments on poet Franz Grillparzer and his timidity. “He actually may mean well, but he is too fearful.” But Grillparzer has cause to complain about the censorship. “The most beautiful parts of his poems have been crossed out. That also makes one fearful. I think that there is no one like Grillparzer. Have you read his Ahnfrau? [The Ancestor, an 1817 drama based on a South Bohemian legend.] What language!”

Karl notes that the Schlemmers are hosting a small ball today. Tomorrow [April 9] His Majesty will go out for the first time.

Poet Carl Meisl (1773-1853) is in Karl’s opinion very patriotic. He is an official in the Navy. [Meisl had adapted Kotzebue’s The Ruins of Athens for use as Die Weihe des Hauses (Consecration of the House), Beethoven’s op.124.]

Karl goes home, possibly attending the Schlemmers’ ball; he does not appear to visit Ludwig tomorrow.

Conversation Book 107, 93r-96v (which is blank), 1r-3v. This concludes Conversation Book 107. Conversation Book 108 continues tomorrow without interruption.

Publisher Mathias Artaria, whom Beethoven has been working with for publication of the string quartet op.130, follows up his publication of Schubert’s Ave Maria (D.839) earlier this week with the announcement of Schubert’s Piano Sonata Nr.2, op.53, and Divertissement à la hongroise for piano four hands, op.54. These works are catalogued today as Piano Sonata Nr.17, D.850 (“Gasteiner“) and D.818. The piano sonata D.850 is here performed by Elisabeth Leonskaja live at the Mänttä Music Festival, August 10, 2016:

Beethoven had a number of objections to the title page of the Terzet. The piano reduction of the Terzet as published has “Tromate, empi, tremate” [sic] as the title, which cannot have pleased Beethoven. The work is described on the title page as “TERZETTO ORIGINALE […] con accompagnamento di Cembalo“, which suggests that the anonymous piano reduction commissioned by Haslinger was the original version, and that the orchestral version, which is what Beethoven actually wrote, was only an arrangement of that piano version. Beethoven will mark up a copy of the piano reduction and make corrections to the score itself. The exemplar with Beethoven’s corrections, is held by the Music Library of the University and State Library in Darmstadt.

What Haslinger’s title page to the March and Chorus op.114 contained that so offended Beethoven as to call them “barbaric” is probably similar. The piano reduction of this work as originally published in 1822 described it as a “Solemn Processional March…set by LUDWIG VAN BEETHOVEN. 114th Work. Arranged for pianoforte four hands.” The 1826 version omits the statement that it is an arrangement, likewise suggesting that this reduction (also not by Beethoven, but probably corrected by him) was the original, and that the orchestral version was the arrangement.

Beethoven writes a short undated note to the Vienna Office of the Austrian Imperial Censor. The note is probably written today, given the urgency that Holz gives to it and Beethoven’s anger.

“Most Honorable Censor”

“There is a threat of publication of several of my works, in which, out of spite against me, they refuse to correct the errors I have pointed out. The inscriptions are of such a barbaric nature that they would cause shame. I therefore request the esteemed Censor to prevent these works from being announced until I have assured, with my signature, that these works will appear in the proper condition.”

Brandenburg Letter 2144; Anderson Letter 1479. This letter is known from a photocopy of the autograph, which was formerly held in the Benedictine Abbey in Gottweig. The censor acts quickly, and Beethoven’s order is issued by the Censor tomorrow.

Beethoven has mid-day dinner, and offers some to Holz, who says he is full. Holz continues, and asks whether Beethoven also sold Steiner the right to issue the Terzet, Tremate, empi tremate, with orchestral parts. The orchestral score and the piano reduction were sold to Steiner in 1815. But there is little to stop them from issuing the parts as well. Holz bemoans the lack of an effective copyright law: “As long as there is no law which forbids the publishing of works before they have received the vidi of the author, you won’t find any justice there. But he would have thought it better for Haslinger to part ways with Beethoven on good terms.

Holz asks whether one of his works [from the context, probably the Terzet, but also possibly what is now known as the Name Day Overture, op.115, but had been published by Haslinger a year ago simply entitled “Overture“] had its own title when Beethoven sold it. It did not. “You will soon see, as long as you did not add a title when you sold it, you will get wronged.” Holz asks who made the piano reduction of the Terzet. [It would be nice to know Beethoven’s answer, because that person remains unidentified to this day, but it was not the composer himself.] “It would have been better if the correct title had been written on the score at the start.” Holz would prefer to stay out of it, but he doesn’t want to look like he’s taking Haslinger’s side.

Beethoven complains that Holz discouraged him from taking action against Haslinger sooner; Holz admits that he was wrong to do so, but he did not do that out of some commitment to Steiner. There’s no reason for him to do that; he simply thought it would be better for Beethoven not to cause hard feelings. But now they must waste no more time, and he will go to the censor at once with the letter. Holz did not believe they would be so stupid or evil. “What devil would think of such treachery? Now I see everything clearly. Now I see why Steiner denied having the corrected titles. God forbid! Do not believe that I ever had any business with them; all the misfortune of the case is that I once again believed people to be better than they seem to be.” Holz suggests it would be better if Beethoven came with him to the Censor, but Beethoven does not go.

Mathias Artaria is desperate for the Lieder that Beethoven had promised him. “Artaria asks you for God’s sake to find the Lieder; he will pay you well for them.”

Beethoven doesn’t want to do that, but decides that they should visit Conrad Graf’s shop and inspect his pianos. On the way, Beethoven recalls that a performance of the Ninth Symphony was held in Leipzig on March 6th of this year. Where did they get the parts, he wonders. Not from him. Holz agrees it deserves an answer; perhaps Schott’s let them have the parts? [In fact, that was exactly what happened. The June 28, 1826 review of the concert in the Berliner allgemeine musikalische Zeitung Nr.26 at 203 says, “Through the courtesy of the aforementioned publishing house [Schott’s], the directors of the orchestra also succeeded in obtaining the parts for these works—the score had not yet been printed.”] If the postage cost were not so high, they could inquire directly from Schott, and they could get to the bottom of this.

Beethoven asks Holz what the Head Censor’s name is; Holz replies “Sattory” [Franz Sartori (1782-1832). Beethoven had dealt with Sartori regarding the Akademie concerts of May 1824, when he needed permission to perform the Missa Solemnis in theaters under the title “Hymns.”]

At Graf’s workshop, Beethoven is shown around and sees unprocessed piano cases, one made from oak. He sees various experiments by Graf, including an attempt to see if the strings also sing behind the bridge, at Carl Czerny’s request; he wants to concentrate on the singing effect. Beethoven is offered a glass of wine while he tours the facility, but he turns it down. Beethoven checks in on the progress of work being done on his Broadwood piano. They have started working on the sound dome for it. One of Graf’s daughters catches Holz’s eye.

Instead of going to the Censor, Beethoven and Holz adjourn to the beer house Zur Eiche. Haslinger intends to move Steiner & Co. to the corner of the Paternostergassel, where the spice dealer currently is. Holz jokes (again in reference to the New Year’s Eve party at the Steiner Music Shop) that Haslinger will be taking over a larger beer-house. They drink downstairs in the non-smoking area; Holz comments that upstairs the smoke is too thick. Holz thinks that “One of Graf’s daughters is beautiful. I would like a father-in-law like that.” [Graf had two daughters, Karoline, born 1802, and Juliana, born 1806.]

Poet Franz Grillparzer comes to this tavern every day, but not until 10 o’clock. Holz appreciates that they have genuine Bavarian beer. Beethoven asks whether it is from Regensburg, but Holz is unsure on that point. He thinks the best Bavarian beer is in Straubing; in Munich the beer is just as bad as in Vienna. But at least everything in Vienna is well prepared. Holz asks why Beethoven refused the wine at Graf’s. Beethoven likely says that he is still trying to avoid wine under Dr. Braunhofer’s orders.

Beethoven asks about the proofs, and that they not be given back to Haslinger until the title page is resolved. Holz assures him that the corrected proofs will stay with him. He again asks that Beethoven accompany him to the censor. “I prefer it if you are there (It does not look so insulting either).” Beethoven is still furious about the implication that the piano reduction was the original work. Holz commiserates, “Presumably, Steiner deliberately did not want the public to know that the Terzett had been written out for full orchestra, in order to find more customers for the piano reduction; that is how I now explain to myself the reason why he denied that I had given him the corrected titles. I do not know of any case in which a reduction has been delivered before the original work was published. It is, properly speaking, very ridiculous.”

Holz wonders whether Haslinger will now take on another partner, since old Steiner is now retired. Haslinger does not speak French or Italian, which would seem necessary for his business. For that matter, “he does not speak German very well either. Languages are simply necessary, particularly if he wants to claim the first position here.” Steiner was the head of the music dealers; there has been some discussion with the Magistrate about giving this title to Haslinger. “The old bear is completely withdrawing to his cave.” [Steiner will retain the title of Head of the Committee of Art, Book, and Music Dealers until March of 1837.]

A woman [possibly Graf’s daughter that caught Holz’s eye] expressed an interest in the Conversation Book. Beethoven would like to know what she said about it; Holz said she asked if it is full already. This is an important question!

Beethoven orders some food. Holz reveals that today is obligatory fasting day, probably for his digestive issues, though that does not appear to stop him from drinking beer with Beethoven. The beer they’re having is good; it has a lot of hops.

Beethoven made Graf very happy today, Holz thinks. His keyboards have a unique character that is different from other keyboards.

Poet Franz Grillparzer joins the group, probably earlier than his usual 10 o’clock. He complains that the censorship has killed him. Holz suggests that he should go to North America, to be able to state the full scope of his ideas. “Recently I had the most unpleasant affairs with the police. Only because of some talk.” [Miniaturist Moritz Daffinger had while with Grillparzer insulted a military police guard, and he received a strict police reprimand for “immodest remarks.” See the portrait of Grillparzer by Daffinger below.]

Grillparzer is interested in what will happen with the Opera back under the control of Domenico Barbaja. Probably more Italian opera, Beethoven grouses. [Last time, Rossini had come to Vienna in 1822 with his new opera Zelmira.] Grillparzer optimistically thinks, “In the Theater an der Wien, separately, there might still be hope for German opera. And yet nothing of importance is written for the opera in Germany, except in Vienna. I think that people in Berlin like the accessories of opera more than the music itself.”

The dramatist asks Beethoven’s opinion of Weber’s opera Euryanthe. [What familiarity Beethoven has with it is unclear, since it appeared after Beethoven’s deafness was near total.] Grillparzer thinks it is more poetry than music. “The world has lost its innocence, and without innocence, one cannot create or enjoy a work of art. The motto of our days is criticism. Weber is a critical composer.”

Grillparzer thinks composers are lucky, since they have no censorship. “At the same time, all foreign writers are prejudiced against everything that comes from Austria. There is an actual conspiracy in Germany against the Austrian writers.” Even though his own works become less and less popular, Grillparzer is halfway in love with Austria. He asks whether Beethoven has read his tragedy Ottokar, which had been buried by the censors for over a year.

Grillparzer says he has the misfortune of being a hypochondriac, which explains a lot. “My own works do not make me happy. If only I had the thousandth part of your strength and firmness!” Grillparzer wonders whether Beethoven’s life ever intrudes on his composition: “Have there not been times at which events of life have interfered with your work? Love affairs, for instance?” Beethoven’s time seems to be all spent on replacing his servants.

Grillparzer appears to depart at this point, though Holz continues to talk about him. Beethoven asks what time it is, and Holz tells him 9:30 p.m. Their bar tab is 2 florins 22 kreutzers.

Holz says that the other housekeeper candidate that he was speaking to would be better; she at least had served as a housekeeper in Hungary. He asks whether he should send the one from Frau von Schneid? Holz doesn’t know the other one, but it is better to take one with a reference, since then you have a better idea what you are getting. “The maid always seems to think that she is important too; therefore, she threatens to leave with every third word, in order to get more money.”

For the rest of this long day, all of the entries in the conversation book are by Holz. Grillparzer’s biggest misfortune is that he is in love. He can’t move forward or back, and has been stuck here with Katharina Fröhlich, the “Eternal Bride,” for six years now.

Apparently Brother Johann and Karl were expected to join them, because Holz wonders what has kept Johann, and whether Karl is coming.

Beethoven complains that no one understands his recent works like the Ninth Symphony and the new quartets. Holz says, “The moaners will be silent within a year; a work of art will only be appreciated after 5 or 10 years.” Grillparzer with respect to Ottokar was burdened with absurdities he had never dreamed of. “For instance it was said that he had wanted to show off as an official and therefore had praised the Habsburgs; that brought about the structure of the piece! All Bohemians are moaning because he described them in the state in which they really were 700 years ago; they however saw it as a description of their present state.”

Holz toasts his evening table companions, and says the wine is good. “There is not a drop of Hungarian wine among them; that is an advantage.”

Grillparzer has too little firmness. “He wrote Die Ahnfrau [in 1816] in 14 days, and in many respects this is his best work. He can write quickly; the genius is there, but he cannot be delayed by anything.” However, he has his duties as an official. For him writing is more science than art. He used to get a salary of 1200 florins, but Court Councilor for Music Moritz von Dietrichstein demanded an annual work in return from him. Therefore, he gave up the salary, because he cannot produce like a machine.” Holz adds, “When you see things like that, you finally get to really value freedom.” Holz believes that Beethoven bolstered Grillparzer’s courage a little today during their conversation.

They make some dangerous remarks about Joseph Graf Metternich (1774-1830). He is the brother of Chancellor Metternich, and “he has no merit other than being his brother.” Grillparzer lives in fear, and is always dissatisfied with his own works as a result. “During the execution, one realizes how someone has climbed the highest mountain; and then behind him he sees another mountain even higher.” For that reason, Beethoven may not wish to think much about his earlier works. “However, I think that no one will come after Beethoven, like no one came after Raphael or Shakespeare; who can beat him.”

Holz settles up the bill; the change is 2 florins 18 kreutzers, and they go home.

Conversation Book 107 75v-93r.

Franz Schubert today petitions the Emperor to be named Vice-Musical Director of the Imperial Court Chapel. The vacancy arose because after Antonio Salieri retired as first court musical director in March of 1824, Joseph Eybler was named his successor in 1825. Eybler had previously held the Vice-Musical Director post, which thus had essentially been vacant for two years. Schubert notes that he is a native of Vienna, served as a boy-chorister of the Court at the Imperial and Royal Seminary, received instruction in composition from Salieri himself, has written five Masses, and “By his vocal and instrumental compositions his name has become favorably known, not only in Vienna, but throughout Germany…” Schubert’s request is eventually denied but not until early next year. Otto Deutsch: The Schubert Reader at 520-21

Holz and Beethoven go to a coffeehouse where there are newspapers. Ignaz von Mosel would appreciate it if Beethoven would give him an answer to whether he accepts the dedication of the quartet by Carl August von Klein. If Beethoven would write the letter, Holz will take it with him tomorrow. [Beethoven does dictate the letter to Holz, but not until May 10.] Tobias visited Mosel in order to recommend himself.

Holz suggests that if Beethoven can look at the proofs tonight or tomorrow morning, he can also return them to Haslinger tomorrow afternoon.

They see someone unidentified; Holz says he “looks like a real bureaucrat.” Beethoven, so as not to be heard, writes that he is “narrow-minded and conceited.”

The pair go for a walk. Holz saw Brother Johann today on the Graben. Former unpaid assistant Anton Schindler was there too.

Someone, possibly Ignaz Schuppanzigh, is described as playing all day. “I do not see him; there is nothing to be done with him, he is completely exhausted.” Holz comments that the walk appears to be doing Beethoven good.

A new regulation has been issued and read to the students of medicine at the University. None of them, even if they have finished their examinations, may leave Vienna until September 8th to enjoy their holidays.

Mathias Artaria sends his greetings to Beethoven, and says he must enjoy the lake fish tomorrow. There is some discussion about sea fish and the price of fish.

A certain type of fish should be boiled, rather than baked; Beethoven prefers it like that anyway. “Also, everything baked in butter is soft and spongy; the new housekeeper, Frau Bruckl, also confirms that. She said that if you use very fresh beef lard for baking, it is better. Butter always has a certain sourness, which is more unpleasant than beef lard when used for baking.” Holz suggests Beethoven should have half of the fish baked in butter, and half in lard, and then taste the difference between the two. Holz’s mother also tastes the lard; one needs a good stomach for that, but it is necessary for baking. The discussion of fish concludes when Beethoven mentions a desire for ham and cheese. Holz comically writes, “My good man! Cheese and ham!” Holz says he will have his mother buy the fish for Beethoven; he should send someone to Holz at about 10 o’clock tomorrow fetch the fish. But if the maid is leaving tomorrow, Holz is unsure whether he can find a new one straight away.

Holz mentions that Franz Schubert recently visited Ignaz von Mosel; they read a score by Handel together. “He [it is unclear whether Holz means Schubert or Mosel] was very amiable; also thanked me for the pleasure which Mylord’s Quartets gave him; he was always present.” [Schubert was known to be at nearly every Schuppanzigh Quartet concert.] Schubert has a great gift for lieder. “Do you know the Erlkönig?” [Whether Beethoven was familiar with Schubert’s setting, his op.1, is unknown, though it was quite popular in Vienna since its 1821 premiere. Beethoven knows the underlying poem well, having attempted to set it to music himself in the 1790s, his draft being catalogued as WoO 131. A completion of that draft, including an orchestration of the song by Béla Bartók, can be heard here:]

https://unheardbeethoven.org/search.php?Identifier=woo131

Beethoven says Joseph Bernard wants to know what’s going on with the oratorio they are supposed to produce together. Holz still has Bernard’s libretto for that oratorio, Der Sieg des Kreuzes, at home. He loaned it to poet Christian Kuffner for his opinion, and he was unimpressed. “Kuffner does not understand why one does not at once shrink back from setting something like that [the conversion of Constantine and the battle of the Milvian Bridge] into music; it can only arouse coldness instead of enthusiasm. He says that Bernard does not at all have the mind to write something like that. He is only an artificial poet.” But on the upside, if Beethoven doesn’t want to see Bernard, Holz jokes, he only needs to lend Bernard 5 florins again. [Apparently such a loan put Bernard into hiding previously.]

Holz mentions that someone is now offering burial insurance. You pay an annual amount, and they see to it that you’re buried properly. Beethoven thinks this is wagering that you will die early enough to make that profitable. “A peculiar speculation,” answers Holz.

Back at the apartment, Franz Baptist comes to the door, apparently looking for work. He says he has already copied a lot for Beethoven. He gives his address and departs. Holz asks whether he’s the one who copied the first quartet [op.127.] No, that was Ferdinand Wolanek, whom Beethoven angrily dismissed.

The maid is threatening to leave again. Holz would have known of another one through the woman he has retained. But it will work best if Beethoven just takes on one that he already knows. Beethoven wants Holz to arrange someone, so he says that he’ll send the one tomorrow that works for Frau von Schneid. Or if Beethoven wants to go to the police, the servants’ office can give dozens at any time. They at least have some fear, since the police know whether they are.

Conversation Book 107, 63r-75v.

Count Karl Friedrich von Brühl, the Intendant General of the Royal Theater in Berlin, writes to Beethoven today. “The music dealer [Adolph Martin] Schlesinger has informed me that your excellency would not be averse to writing a German opera for the Berlin theater, and I accept this offer with the greatest willingness, since it can only be a true honor for the stage that I manage, to bring to it a work composed specifically for it by a man who stands as high in the world of art as your excellency.”

“The libretto for ‘The Fair Melusine‘ by Herr Grillparzer, which Herr Schlesinger also sent me, seems to be quite suitable for offering rich subject matter for an imaginative composer. My only reservation is that our theater already has an opera by Herr von Fouqué and Herr [E.T.A.] Hoffmann, which deals with almost exactly the same subject matter, namely ‘Undine,’ which was so popular and highly acclaimed in its time. This is the only reason why I would have wished that your excellency had suggested a different subject, and that Herr Grillparzer could have adapted it. I would therefore be very reluctant to accept the otherwise so successful and lovely poem, ‘Melusine’ for performance.”

“I humbly request that your excellency kindly inform me of your views on this matter and in closing accept the assurance of my highest and most sincere respect.”

Brandenburg Letter 2142; Albrecht Letter 429. The whereabouts of the letter are unknown. A draft dated today was at one time in the superintendent’s office for the Royal Theaters in Berlin. The fair copy will apparently be mailed to Beethoven tomorrow.

In Mainz, publisher B. Schott’s Sons today accepts Beethoven’s offer of 80 ducats for the String Quartet op.131, which is still being composed. They propose payment in two installments. Schott’s also inquires whether Maurice Schlesinger has acquired the French rights to the Quartet op.127, since Schott’s would like to publish it there as well, as one of the first offerings from their new Parisian branch.

Brandenburg Letter 2143. Like the preceding letter, the whereabouts of the original are unknown. The date and content are inferred from Beethoven’s letter of March 28, 1826 containing the original offer, and his confirmation letter of May 20, 1826, being Brandenburg Letters 2136 and 2154, respectively.

At 344 of today’s Wiener Zeitung (Nr.78) T. Weigl’s Art and Music Shop offers the newest-published compositions from Franz Schubert. These are two sets of three songs each, his op.56, for voice and piano, comprised of Wilkommen und Abschied (text by Goethe, catalogued today as D.767); An die Leier (Franz von Bruchmann, D.737); and Im Haine (also by Bruchmann, D.738).

Accompanying that set of songs is also Schubert’s op.57, again for voice and piano: Der Schmetterling (text by Friedrich Schlegel, D.633); Die Berge (Heinrich Hölty, D.634); and the third version of An den Mond (Friedrich Schiller, D.193). An den Mond is here performed by tenor Ian Bostridge, with Julius Drake on piano:

Franz Liszt gives the first of six concerts this month in the city of Marseilles.

Beethoven inquires as to the status of Mathias Artaria publishing the new quartet [op.130]. It has been delayed because the Feast of the Annunciation legal holiday was moved from March 25 (which was Holy Saturday) to Monday, April 3.

The housekeeper is still not well, but Holz believes that she and her sister the maid will nevertheless be discharged tomorrow, having received their two weeks’ notice. Thus they will both leave. The next set of servants will not start until next Thursday, April 13, so Beethoven would be best off to go to an inn for his meals until then. Or the building’s concierge could make arrangements for a delivery if Beethoven is not feeling well enough to go out. If he’s desperate, he could get a servant at once at the police. Holz assures Beethoven that if he can find someone to act temporarily during this vacancy, he will take her on at once. Beethoven asks whether Holz intends to deduct anything from the earnest money of the departing servants; Holz tells him he has already informed them that it would be deducted from their pay. Holz told her to make sure they get away at once tomorrow. “I’ll come tomorrow to pay the scum.” The housekeeper says she is going into the hospital today; she’s asking for her pay now. He’ll also pay the new housekeeper, Frau Bruckl, her 5 florins earnest money.

Brother Johann comes to visit Ludwig while Holz is still there, dealing with the servants. It appears that they go out to a coffee house to talk out of earshot of the maid and housekeeper, and Holz leaves to run errands. Johann reminds Ludwig that he needs to be very careful when firing a servant; if she is dismissed while she is sick, then if she gets admitted to the hospital, Ludwig would have to pay her former employer for the whole sickness period. That happened to Johann once, so when he gives a reference letter for them Ludwig should always say that she was dismissed while healthy. Ludwig says he can’t do that, since she’s still sick. Johann tells him that she will be well in a few days; then he can give a reference saying she was discharged while healthy. Johann suggests that he tell them they can keep the earnest money, and then they will probably stay until next Thursday, so Ludwig isn’t without servants for a week. One of the servants (“the big one”) has to go to Countess Klari tomorrow, but she will tell the Countess she has to stay on here for a few days more.

Johann, a propertied gentleman, is going to get fire insurance. “If a lot burns, a lot will be paid.”

Ludwig, not entirely paying attention and reading the newspapers, copies down a notice from the April 5 Beobachter that Andreas Johann Freiherr von Stift received the order of the Red Eagle, 2nd class of Prussia. [Stift (1760-1836) is the personal physician to the Emperor and President of the medical faculty at the University of Vienna.] Holz appears to depart about now, since he probably has to return to work.

Johann brings up Frau Elisabeth Passy, daughter of wholesaler Ferdinand Bertoli. He reminds Ludwig that 12 or 13 years ago, he used to dine together with her and cloth dealer Johann Wolfmayer. Ludwig wrote a song in her album. [The contents of the album are not known.] She is now poor, has hardly 800 florins per year, “and this woman, who understands everything, is forced to work as a housekeeper. She speaks and writes French and Italian, and is one of the best cooks in Vienna; perhaps you could get her some time. The cloth dealer Wolfmeyer [sic, a very fervent devotee of Beethoven’s music] is related to her, knows her very well, you might ask him.”

Johann mentions that he spoke to publisher/composer Maximilian Leidesdorf about Ludwig’s latest quartet [op.130]. He told Johann he heard the quartet with much delight and completely understood it, except for the last movement [the Grosse Fuge], which he very much wants to hear again in order to comprehend it fully.

Johann asks whether Ludwig is not still considering that he might write the music to the oratorio Der Sieg des Kreuzes. If he were to start work on it, the Conservatory of the Gesellschaft der Musikfreunde would pay him right away.

Brother Johann appears to depart and Ludwig goes home. While Ludwig is out with Johann, Holz comes by the apartment with the long-awaited proofs from Haslinger, and leaves them with the sick housekeeper, but she forgets to give them to Beethoven.

Sometime later in the day, Nephew Karl comes to visit for a short while to inform his uncle that he hired someone to serve as Ludwig’s kitchen maid. She will start on Monday, April 10.

The local police surgeon, Dr. Georg Dolliner comes again today to examine the housekeeper. He reports that she has no fever today, and may be well in two days. Karl asks how long the current maid, the housekeeper’s sister, is staying. Uncle Ludwig tells him she is leaving tomorrow. Then Karl will have the new girl come tomorrow instead of Monday. Karl talks further to the maid, and she says that she would like to learn from the cook. She can cook herself, but she recognizes she still has a lot to learn and would only want to be a kitchen maid for now. She sees that she would not do as a cook.

Nephew Karl comments that Haslinger wants the manuscripts of the works he buys from Uncle Ludwig, because he knows how much the manuscripts are worth.

They talk about the dedication of the string quartet by Klein; Karl thinks Ignaz von Mosel is very kind, but asks how the composition of the quartet is.

The brain that the maid bought is very fresh. She presumably did not buy everything that was on the receipt, though.

Ludwig asks how much Kaiserbier costs. Karl tells him that Kaiserbier costs 24 kreutzers. [Kaiserbier was a beer brewed by the brewery on Prager Street in Jedlesee, currently owned by Anton Bosch. His Kaiserbier and Englischbier were famous internationally, and the brewery was considered one of the best in the country.]

Ludwig asks Karl his opinion of the op.130 quartet. “I am convinced that in general, it will be seen as one of your greatest. Among others, [Joseph] Böhm said so, he was so delighted with it.”

Karl thinks he may be able to come visit tomorrow and help deal with the housekeeper. He’ll eat dinner at home. He will be finished at half past one, and then come to see Ludwig.

Conversation Book 107, 63r-69v.

Today’s Wiener Zeitung (Nr.77) at 339 includes an advertisement from Mathias Artaria for Seven Songs from Walter Scott’s Lady of the Lake, set for voice and piano by Franz Schubert, op.52, in two volumes. The first volume is priced at 3 florins 30 kreutzers W.W., and the second volume for a florin less. These songs are today catalogued as D.835-839, 843 and 846. D.839, Ellen’s hymn Ave Maria, one of Schubert’s most popular compositions, is here performed by Renée Fleming and Christoph Eschenbach: