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

The current housekeeper, Elise Seidl, says she cannot make such a mishmash with plums. She says she can only cook properly. Karl adds, “She is very rude.” She does not brook any complaints about her cooking. “She recently said that if she did not cook well enough to be paid 25 florins, then she did not know how the people who paid her 50-60 florins could have been satisfied!”

Uncle Ludwig has an appointment with the tailor, apparently to make pants. Karl asks what time the appointment is. He thinks Uncle Ludwig is being overcharged. “No one pays that.” It takes 3 1/4 ells of fabric for a pair of pants, which should be about 10 florins.

Uncle Ludwig asks how many pairs of pants Karl needs. He says 1 is fine; one pair that he has was shorter to begin with and now it has shrunk too much.

Uncle Ludwig writes down Seidl’s address, Alstergasse 131, which is also the building where the police district headquarters is located.

Conversation Book 112, 2r-3v.

Today’s Berliner allgemeine musikalische Zeitung (Nr.23) at 180 reviews the Rondo espressivo in E major, op.93, for piano by Beethoven’s former pupil Carl Czerny, published in Leipzig by H.A. Probst. The reviewer is rather harsh, saying, “It is hardly credible that a man like Czerny, who published an F minor sonata for piano – a true masterpiece – should really have composed this bland, cobbled-together oeuvre.” The reviewer demands that someone “show me a piece of music of the same length that, with the same excessive use of passages, arpeggios, and all of the tours de force available to the piano, is more difficult and at the same time more boring than this Finale and the short movements coming before it. But why take a bet in which the proposer knows in advance that he must win?”

In all likelihood, he thinks, this is a fraud, where the most famous names are plastered onto a substandard work by the publisher, as happened to Joseph Wölfl, Muzio Clementi and Mozart [not to mention Beethoven, even before his death and especially afterwards], and would be disowned by Czerny. The review warns musicians and amateurs alike not to look at the name of the composer, but the value of the composition, and recommends finding a music dealer that will allow you to try out the piece at home before purchasing it. [Despite the reviewer’s suspicions, this Rondo espressivo is indeed a genuine, if lesser, Czerny composition. It does not seem to have ever been recorded and is one of many the Czerny works that has fallen into relative obscurity, although it was apparently reprinted in 2006.]

Conversation Book 110, 55v. This concludes Conversation Book 110. Conversation Book 112 begins being used, probably today. This is a volume with 40 leaves; pages 31v and 40v do not have writing; Anton Schindler wrote a large red X through page 31v. There are several mentions in the book that can be specifically dated to June 9, 10, and 13, so this book appears to have been used primarily during the second week of June.

Beethoven makes an errand list:
Satin cloth
Sacra potential [Sacra is a traditional medical resin that includes anti-inflammatory and metabolic health benefits; Beethoven may have been considering its use for his regular gastric disturbances.]
Whether Karl needs handkerchiefs, shirts, he has 14 without that, he will need nose handkerchiefs.

Nephew Karl briefly comes by having checked on the status of some money for his uncle. [The German editors suggest Karl may have been checking to see whether funds had been deposited by publisher Maurice Schlesinger.] “The gentleman himself was not there, only a clerk, who knew that the money was there and was ready to be paid on demand.” Uncle Ludwig asks if there was any discussion of the exchange rate and the fee for changing currencies. Karl doesn’t know anything about that and asks whether that discount was not addressed in the letter. Karl’s understanding is that “the discount can only take place if they payment is done sooner than it should have been, for example by bills of exchange that are for a specific period of time after sight, which one wants to be disbursed at once; otherwise not.” While the banker might make a charge for currency exchange, that should not be deducted from the principal amount. “One could protest against that.”

After Karl leaves, Beethoven’s longtime friend Stephan von Breuning stops by as well. He probably will need to go to Cologne, and asks whether Beethoven would like to come with him. Beethoven asks when that would be, and Breuning replies in August. Beethoven is either noncommittal or suggests that he will likely be out in the country in August.

Breuning complains of rheumatism. He says that his wife asks Beethoven to come and have dinner with them on Thursday [June 8]. It has to be that date, because she is going out to the countryside on Friday [June 9. If Beethoven does go to the Breunings for dinner, there is no trace of that in Conversation Book 112, though another book could have been used.]

Conversation Book 112, 1r-2r.

Beethoven goes to a coffee house and reads today’s newspapers. He makes a note of an advertisement for “pique bedding in the English style.”

Conversation Book 110, 55v.

On the back of torn-out leaf BH 53 pp.11-12, Beethoven makes note of a number of different apartments available in the country, advertised in today’s Wiener Zeitung (Nr.126) at 862. These included apartments with 2, 3, and 4 rooms in Theresianbad in Meidling, Hetzendorf, Raduan, and one in the Rear Briel near Mödling. Beethoven may have torn this page out himself to look into these apartments, though he does not end up moving to the country at all this summer.

At the sixth Royal Academic Concert held in London today, Beethoven’s Septet op.20 is performed by an outstanding ensemble, which included a number of the great virtuosos of the day: Christoph Gottfried Kiesewetter on violin; Joseph A. Moralt on viola; Robert Lindley, cello; Domenico Dragonetti, double bass; Thomas L. Willman on clarinet; Giovanni Puzzi on horn; and John Mackintosh playing the bassoon. The Harmonicon for August, 1826 (Nr.XLIII) at 152 observed, “The beautiful septett by Beethoven was, as a whole, charmingly performed; though the violin indulged in a few of those frisks—the result of great animal spirits, we surmise—that are rather inimical to such solid, lovely music.”

Beethoven’s Septet op.20 is here performed by members of the Concertgebouw Orchestra, November 9, 2020:

Carl Maria von Weber dies in London early this morning at the home of Sir George Smart. Weber had been in London for the premiere of his new opera Oberon. Weber had been warned by his physician not to make the trip. Suffering from tuberculosis, and in declining health in May, he nevertheless continued to conduct. The report in The Harmonicon of July, 1826 (Nr.XLIII) at 146-149 follows: “On Monday, the 5th of June, at seven o’clock in the morning, the Baron von Weber was found in a lifeless state in his bed, at the house of Sir George Smart [who had visited Beethoven several times in September of 1825], in Great Portland-street, where he had resided ever since his arrival in London. The disorder which has thus deprived the world of a genius who has contributed so much to the innocent pleasure, and therefore to the benefit of mankind, was a pulmonary consumption, which, to the common observer, had not assumed an immediately alarming form until the preceding Friday, when it compelled him to keep his room; but his spirits were not much depressed, his appetite was good, and he manifested no sense whatever of his approaching danger. The only change remarked in him within a few days of his decease, was an increasing anxiety to return to his native country, and to his family. His friends, of course, studied to divert his attention from a hope which they foresaw could never be realized; but all direct opposition only tended to create in him great uneasiness, and his mind became cheerful in proportion as he conceived that the various obstacles which presented themselves were capable of being surmounted. A countryman, M. Furstenau, who paid him constant attention, left him at eleven o’clock the night before his death, apparently in good spirits, and shewing no symptoms of immediate danger.”

“With the laudable intention of satisfying all doubts, whether here or abroad, as to the cause of M. von Weber’s death, an inspection of the body took place, the result of which was the following certificate:—

‘On opening the body of C.M. von Weber, we found an ulcer on the left side of the larynx, the lungs almost universally diseased, filled with tubercle, of which many were in a state of suppuration, with two vomicae [pus-filled abscesses] — one about the size of a common egg, the other smaller, which was a quite sufficient cause of his death.'”

The intended performance of Der Freischütz at Covent Garden this evening for Weber’s benefit is cancelled.

Sometime, possibly around now, Beethoven writes a short note to S.A. Steiner & Co. “Before you make the final impression, please send me the score along with a copy. It’s urgent—It’s urgent—Please send me just two lines to confirm that you have received the 7 fl. for the Overture from me. All yours, Bee—.”

Brandenburg Letter 2102. The whereabouts of the original are unknown. The text is based upon a handwritten transcription by Theodore Frimmel, which is now held by the Bonn Beethovenhaus (Frimmel Estate M 45/6). Sieghard Brandenburg concludes that the note was addressed to a Viennese publisher, and from its content referred to a publication of an orchestral work in full score, which can only point to S.A. Steiner & Co. as the addressee.

The dating of the letter depends on the identification of the works in question. The wording regarding the Overture suggests a printed score, and not a set of parts. If the Overture is op.115 or 117, then the note dates from 1825 or 1826, respectively. About now seems appropriate, since op.116 and 117 were published in June and July of 1826. and Beethoven was highly agitated about the problems with the score of Tremate, empi Tremate, op.116 and would have wanted to see the final version before it went to press. If op.91, 92 or 93, the only other Beethoven orchestral works published in score by Steiner, is meant, then the letter would date from 1816 or 1817. But since the military epithets that Beethoven used during the latter period are absent, Brandenburg reasoned that the later dates were the more likely ones.

After Karl consults with the housekeeper, he tells his uncle that “She says that for the soup you must allow her to use a veal bone and some liver daily. She will buy it tomorrow. She did not dare do it today, probably because the maid told her that it would cost you too much.”

Uncle Ludwig asks what they are offering for the maid’s services; Karl says 10 florins per month.

Seidl wants to know whether Uncle Ludwig would like his asparagus with breadcrumbs and butter.

They need to figure out how much is due to the departing maid. Karl asks his uncle when the last maid started. She has been there 33 days, so at 20 kreutzers per day, she is entitled to 11 florins in pay.

Uncle Ludwig dictates a letter to Karl dated today for publisher Heinrich Albert Probst in Leipzig. “Your excellency!”

“I have always felt somewhat obliged to offer you works of my own composition whenever I was able. I am now freer than usual, since I have been forced to give smaller pieces to those who purchased larger works from me, without which they would not otherwise accept the larger ones. But you, so far as I recall, were unwilling to concern yourself with larger works at all. In this regard, I offer you a completely new quartet for two violins, viola, and cello; however, it should not surprise you if I request a fee of eighty ducats in gold for it; I can assure you on my honor that I have already been paid the same sum for several quartets. I must, however, ask you to write to me promptly on this matter. Should you approve my request, I ask that you transfer the sum to a local exchange house, where I can withdraw it upon delivery of the work. In the opposite case, however, I likewise expect a prompt reply, as other publishers have already made requests of me. The following small pieces are still available, which I could give you: a Serenade-Congratulations-Minuet [WoO 3] and an Entre-Acte [probably WoO 2b, the opening of the second act of the 1805 version of Leonore,] both for full orchestra; together for twenty ducats of gold.”

“Awaiting your prompt reply, I remain your excellency’s humble servant, Beethoven.”

Brandenburg Letter 2159; Anderson Letter 1488. The original is held by the Berlin Staatsbibliothek (aut.32).The letter bears a “VIENNA” postmark and the registration note that it was received June 7th, and responded to on June 9th. That response does not survive and its contents are unknown. However, in any event Probst published none of the offered works, and they all remained unpublished during Beethoven’s lifetime.

Uncle Ludwig would like to see Karl later today. Karl says that he can be with his uncle from 5 until 6 this afternoon. In order for Uncle Ludwig not to have to walk so far, he could wait somewhere in the City and Karl will meet him for an hour. Uncle Ludwig asks why Karl can only stay until 6. “In the evenings either one of my classmates comes to me, or I go to him, and then we study together. Things go much faster then.” On other days when they don’t eat together around 9 o’clock, Karl could come to see his uncle.

Later Beethoven waits for Karl at a coffee house and reads the newspapers. He copies down an ad from yesterday’s Intelligenzblatt for venison at the Auerhahn, the best kind and lowest prices. He also notes down a report probably in the Augsburger Allgemeine Zeitung of May 28, 1826 (Nr.148) at 591 that Graf Rudolph von Lützow has been appointed ambassador to the Russian court at St. Petersburg. [This will be of interest to Beethoven for speedier communications with Prince Nikolai Galitzin, to try to collect the fee for the third quartet written for Galitzin.]

Karl meets up with Ludwig. Someone else came to see him this morning about being a cook. It is easier now to find housekeepers than to find kitchen helpers, he says. “Everyone thinks she is able to take care of a household.” Uncle Ludwig asks whether they are done looking now. Karl says it will still be a few days; they’ll find one suitable for him.

Conversation Book 110 52v-54v.

Since the most recent kitchen maid was given two weeks’ notice on May 19, and will be Beethoven’s service tomorrow, Seidl asks whether Beethoven has already hired a maid, or whether she should bring one. A prospective maid, Marie Stiegel, has been sent by the bread seller, and is interviewed by Seidl. Stiegel lives in Neubau. [Stiegel will end up in Beethoven’s service for longer than most servants other than Barbara Holzmann.]

Seidl says she will go into the city and buy what is needed for today, only some plates and butter for tomorrow, and chicken eggs so that they have something in the house. “And please, how much do you eat?”

Seidl offers a potential menu for the shopping:

Herbal soups
Beef with 2 sauces
Side dish asparagus
Pickled brain
A whole roast or chicken

[For supper:]
Schnitzel from brisket
Chop

Beethoven suggests a loin roast. She says that’s too big, unless she can get one of the best kind, which can be had in a smaller 3 pound size. She asks if he wants it stuffed.

Beethoven inquires about what game might be in season. She tells him that at the wild game market, the Wildpretmarkt, there is nothing but quails and venison right now.

Conversation Book 111, 51r-52r.

Carl Maria von Weber, living in London at the home of Sir George Smart, suddenly takes a turn for the worse with his tuberculosis, and is confined to his bed starting today.

Karl observes that the maid washed her feet in the water bucket, and the kettle is leaking. Uncle Ludwig asks why she washed her feet in the bucket; Karl answers she had an ulcer or something on her foot. Yesterday evening the housekeeper almost got hit by the maid because she had scolded her.

The ham for supper tonight looks good; the housekeeper bought a large one, because she wanted to serve ham with aspic tonight. Ludwig invites Karl to stay; Karl says he will if it won’t be too late.

“They do not cook anything magnificent, but there are so many small dishes that are very good and which can only be made by a woman who understands cooking. They are quite well seasoned.

Ludwig makes some remark about Karl’s future in business. Karl snaps, “That is nobody’s business. I have completed rhetoric, and will be accepted everywhere.” Ludwig changes the subject.

“The quartet was very much enjoyed.” [It is unclear what quartet Karl is referencing.]

It turns out that the aspic was ruined because the housekeeper could not get ice anywhere, which was essential for it. The hams from his Herr Brother [Joseph Fesel] are not bad at all. [Fesel, or Vesel, Brother Johann’s butcher brother-in-law, was married to Johann’s wife Therese’s sister, Katharina]

Karl mentions that at the Kärntnertor Theater they are going to perform the 1st act of Maestro Rossini’s opera Tancredi, then the next day, the 2nd act of the opera Tancredi. [The theater did this on June 2 and 4, before the ballet The Swiss Milk Maid by Adalbert Gyrowetz.] At the Burgtheater, they could perform good things every day; there are enough of them.

Today there is illumination in Laxenburg. [On June 1, the Emperor and Empress were going to make an excursion from Vienna to Laxenburg. However, it ended up being postponed to June 13.]

Karl has an anecdote about royals. “The present King of Bavaria [Ludwig I] has the habit of going around dressed as the famous Haroun al-Raschid of Baghdad. One morning he went like that to the market place where the town hall is; a lot of journeymen were gathered there; none of them knew the King. He asked what they were doing there. They complained that they had to wait so long for the gentleman who was to issue their passports. The King went into the courtroom, where there was no one even though it was already time for court. He let all the journeymen come in and issued a passport for every one of them; however, at the bottom he wrote: ‘Ludwig in the absence of his clerk.’ Several journeymen are said to have come here with such a passport.” [Karl may have heard this story from unpaid assistant Karl Holz; Holz will tell Ludwig the same story later this month.]

Uncle Ludwig wonders if he could get a gold medal from King Ludwig of Bavaria. Karl responds, “I do not think a medal could raise you up more than you already are. The court physician Stifft has about 10 medals, and no one has given him a thought for 20 years.” It might not do any harm abroad, he concedes.

Uncle Ludwig either offers Karl wine, or accuses him of drinking; Karl answers “I do not drink.”

Violinist Joseph Böhm comes up. Karl says he has no education at all. [When Böhm wrote in the conversation book, he wrote phonetically and was barely literate.]

Uncle Ludwig mentions he forgot to invite Holz to dinner. Karl jokes that “Holz is invited to dinner 365 days a year; and if he has not been invited, he’ll invite himself.” Uncle Ludwig thought that if he were coming he would have been there by now. Karl doesn’t think that Holz takes eating early very seriously.

Karl says he must go home now, because he has to get up very early tomorrow morning [June 2]. “There are exams every day, and one must be prepared. I ask you to think about the tutor one of these days.”

Conversation Book 111, 15r-18v. This concludes Conversation Book 111.

At some point, likely after Karl leaves, the new housekeeper [probably Elise Seidl] stops by today and talks with the departing housekeeper or maid. Seidl writes, “She says that if she had had someone who could have helped her, she would not have left.” So far as her master is concerned, Seidl makes everything herself, and the kitchen maid only has to do the hardest labor. “If I have a person who I can set to work, then I’ll take care of everything that’s important.”

Beethoven tells her that there will need to be shopping done. Seidl says that she’ll try to come back early tomorrow morning then. “I am nothing less [than] practical, but I must insist that the maid is neat and tidy”. Seidl repeats that she will come tomorrow.

Conversation Book 110, 49r-50v.

The June 1826 issue of The Harmonicon (Nr.XLII) at 118 includes a review of Three Grand Fantasias, potpourris on favorite theme, for the pianoforte by Beethoven’s former pupil, Carl Czerny. The reviewer approves of the first two of the set. The first of these begins with an Allegro in A, followed by a vivace in C, on an unidentified subject by Beethoven.