Karl is going home now. He will come tomorrow [Thursday, May 18]. But he would ask that dinner be ready at exactly 1 o’clock. By then, Uncle Ludwig should have heard from Holz. If not, Karl can write to him. [Former unpaid assistant Anton Schindler here inserts a fraudulent set of entries after Beethoven’s death on a blank page.]

Later today, Beethoven’s friend Stephan von Breuning comes to visit. Beethoven must have been napping, because Breuning asks, “Do you usually sleep in the afternoon?” They discuss the work that has been proposed, an opera for the Kärntnertor Theater (and Berlin) and an oratorio. Breuning asks whether texts have been chosen yet. Yes, Ludwig tells him, the oratorio libretto is on David and Saul, and is being written by Christoph Kuffner. No decision has been made about the opera, however. Breuning thinks that the sooner the better to make another opera.

Beethoven probably mentions the libretto May Night by Friedrich August Kanne, which he may or may not have read through yet at this point. Breuning jokes that Kanne “has written very boring descriptions of Viennese manners.”

They discuss the 3-volume set General Literature of Musik by Johann Nicolaus Forkel (1749-1818). Beethoven’s copy has been in a damp place and probably is somewhat mildewed. Breuning is impressed at the large fund of knowledge. The book goes up to 1784. Forkel compiled it in Göttingen, while he was trying to make a living as an organist.

Talk turns to folks back in Bonn. Ludwig asks after one of the members of Breuning’s family, probably his mother. “Healthy, she is healthy, however she always suffers a bit from liver problems. She has a very sensitive disposition. Seclusion in and of itself enhances imagination.”

Recently Franz Joseph Ries, brother of Beethoven’s former student Ferdinand Ries, came to visit Breuning. He had not been aware Ferdinand lost a great deal of money in the failure of the Goldsmidt banking house. Ferdinand has a disease of the lips, which has already lasted for more than a year and threatens to become cancerous. This has caused him to become estranged from his wife Harriet, and he lets her turn to others. Their father, old Franz Anton Ries (1755-1846) is some 70 years old; his wife Madam Anna is 56, “but the gentlest love.” Franz Joseph gives lessons and says it goes well with him, but he looks very bad, though.

Publisher Nikolaus Simrock in Bonn has bought the Wichelshof near Bonn and he is building himself a small farm there. Ludwig asks how he can afford to do that, and Breuning tells him that it’s from Prussian money.

Ludwig asks the name of Breuning’s son. He tells him, Gerhard. [Gerhard would later write his reminiscences of Beethoven’s time living here in the Schwarzspanierhaus.]

Breuning notes that the City of Vienna is making the Graben straight. It will be sown with grass and they will plant trees there once more, to help keep down the dust, along with spraying in front of the houses to control the dust problem. They’re working in the evenings.

Ludwig mentions Brother Johann and his investments here and there [possibly connected with the recently-mentioned purchases of bank stocks, which are continually losing him money]. Breuning fears that one day Johann will make unfortunate speculations. Ludwig complains that the value of his precious bank shares keeps going down lately. Breuning tries to reassure him that they may raise again. David Parish (c.1778-1826), who took over the banking house of Fries & Co, committed suicide last month over the bankruptcy of the company. “Herr Parisch has given many a hard lesson.” Beethoven asks whatever happened to Count Moritz von Fries, who left the company in 1824? [Beethoven knew him well, and had dedicated the violin sonatas op.23 and 24, the quintet op.29, and the Seventh Symphony to Fries.] “He lives in Styria, married his children’s governess who has a sister in Paris whom she supports. His father left him seven million florins. Fries goes from one pleasure to another, and afterwards to boredom. [Fries will die December 26, 1826 in Paris.]

Breuning tells Beethoven that surely he will want to go to the countryside in the summer. There is so much snow in Mariazell that all the connections were closed, and from Kloster Neuberg, the young people skated to the Kahlenberg village until the first of May.

Beethoven inquires about a wine that Breuning has served. He had it come in barrels from Pressburg 2 years ago and had it bottled. It cost him about 1 florin 15 kreutzers per measure. Stephan’s wife’s sister sent him some bottles of Tokayer wine from Pesth. She is married to a music teacher there.

Beethoven complains about the expense of upkeep of Karl. Breuning asks whether his father Caspar Carl’s house in the Alsergasse has been sold. Ludwig says yes, it went to his widow Johanna, and she sold it about eight years ago. “Does Carl not have any fortune left from his father?” Ludwig says no, all Caspar Carl left were debts, other than the small government pension that was used for Karl’s upkeep but now is being transferred to his mother.

At this point Breuning takes his leave. Later in the day, probably after work, unpaid assistant Karl Holz comes to visit. Yes, he spoke to Artaria. He has already paid Anton Halm for the arrangement of the Grosse Fuge for piano four hands [Artaria had paid Halm on May 12], even though Beethoven found the arrangement lacking. Carl Czerny probably would make an arrangement for nothing, just to please Beethoven. Holz thinks he would do it if he asked.

Beethoven asks whether Holz was able to find anything out from Zettler at the Censor’s office about the decree that supposedly prevents his works from being printed without his permission. “Zettler told me that something had been found in [Head Censor Franz] Sartori’s catalogue, however this only has to do with the pirate printing of foreign works. He also told me that Haslinger had already been to see Sartori because of this; presumably he complained about you; it would perhaps be good if we went to Sartori again to find out about the matter.

Holz is surprised that Conrad Graf has not yet sent the sound amplifying dome for Beethoven’s piano. “I told him through the piano tuner that he should send the other dome or the other piano after all.”

Beethoven asks again about Artaria, and his interest in publishing more of his works, including a group of lieder [probably the same songs from the 1790s that had been offered to C.F. Peters in 1822, other than Der Kuss, op.128, which has now been published by Schott’s.] Holz says, “I told him that the Lieder had been ordered abroad, and that you had been offered 100 ducats for them. [Which was not true.] He told me that he cannot come before Thursday or Friday. He is really tied up with his business affairs.

Conversation Book 110, 22v-30r.

There is a review of Beethoven’s ‘Waldstein‘ Sonata, op.53, arranged for piano four hands by Franz Adolf Succo, and published by Fr. Laue in Berlin, in today’s Berliner allgemeine musikalische Zeitung (Nr.20) at 155. “The magnificent work has long been known to all clavecin players, with its original power, majesty and loveliness of its first movement; with its breath of spring in its second movement, which smiles as if from blissful realms; a [third movement] Theme, like a drop of dew on a young rose, in which a small world is reflected; gentle evening zephyrs move it and threaten to kiss it away. It is certainly drawn out, but only springs out all the more fully, and is constantly supplemented, even when it falls away.”

“The fact that the work is arranged for four hands must unfortunately be criticized. Anyone who knows it for two hands (and which music lover would be unfamiliar with it?) will not let one half of it be taken away from them, since they can hold the whole work close to their heart. It is therefore not for such a person. It would therefore be recommended to two young friends who understand each other well, but do not yet know the piece, but only on the condition that each of them sits down at home by themselves after playing it through for the first time and practices until they have mastered it. Hic Rhodus, hic salta.” [“Here is Rhodes, jump here,” from Aesop’s fable, The Boasting Traveler.]

“Unfortunately, we must predict that the publisher will come up short, precisely because the work is so beautiful. Everything that can be performed perfectly well with few resources, and in accord with the composer’s ideas, may well be dressed up in a larger garment for the practice of the budding composer, but a clever publisher must not allow himself to print these attempts, no matter how successful they may be. The undersigned does not exclude those attempts made, for example, by Herr Ritter von Seyfried to arrange the piano works by Mozart and Beethoven for orchestra. The orchestra and the audience do not consider these surrogates to be complete, and even the piano players insist that the sonata will sound better, more spiritual, more unified and more in keeping with the character of the piece on a piano than in an orchestra. Painters will acknowledge that expanding a miniature painting, for example to an altarpiece, is a wasted effort.”

“We therefore regret the great waste of such fine printing and the valuable time that this superfluous work has caused, and would rather advise Herr Laue to have the Master’s three great, new, latest quartets arranged for the piano, since, so far as we know, this has not yet happened. It may sound strange indeed if the sustained bow sounds are to be held on the piano, but it must be arranged, since it will not be appreciated properly without such arrangements.”

1 1/2 Ells of flannel for 2 vests.

Conversation Book 110, 22r.

Karl and his uncle are discussing wines, as Karl inquires about the cost of the red wine his uncle has. The one from The Black Camel “is surely more lubricated.” When they were getting their wine from Ignaz Spöttl’s shop on the Kohlmarkt, they must have been ingesting a lot of lead, he thinks.

The meat is not so good as that on the Wieden; the housekeeper herself says it is not very good; the kind of piece is in and of itself not a good one. “I think you should send the maid to get the meat; meanwhile the other one [the housekeeper] must do what has to be done at home.—The maid would try harder to get some good meat. She [the housekeeper] will presumably take whatever she finds first.” Karl so instructs the maid, but reports back, “She says she cannot find time for [being particular in] buying meat because she has her hands full; she admits that the other one cannot buy the meat because it would be her first time shopping.”

Perhaps because the meat is no good, Ludwig and Karl go out to a restaurant for mid-day dinner. Karl orders Frittaten and lamb. They order Fries wine, but Karl cautions that it needs to have the Fries seal on it. One can get Vöslau wine here; one only has to go to the cellar master of the Fries wine house.

Karl reports that the Emperor drove through the Alleegassee [where Karl has his rooms] again today. “That happens very often now. He visits the botanical garden.” The Viennese claim that the Emperor is a good man.

Karl says he needs to leave in order to finalize the calculations that are assigned for tomorrow. Karl will pick up the affidavit from the priest that he is still alive so his father’s pension for his maintenance can be collected. If Uncle Ludwig thinks that Karl should go to Mathias Artaria, he will do that, so they will know where they stand the day after tomorrow [Wednesday, May 17.]. But most likely he just wants to discuss the piano arrangement of the Grosse Fuge that was done by Anton Halm.

Uncle Ludwig asks Karl to inquire with Artaria as to whether he would pay immediately upon delivery for the new quartet, op.131. Karl says that if Artaria can’t pay immediately, he will say so himself. “Besides, Holz said that he would deliver the gold at once. The conversation will show that.” Uncle Ludwig asks if Karl can visit Artaria sooner. “I probably will not be able to go to him until tomorrow evening; then I’ll bring you the answer the day after tomorrow.” If there is any trouble with Artaria, then the day after tomorrow they can write to Schott’s and offer it to them.

Uncle Ludwig offers Karl something to eat, but he declines. “I am still completely full from the mid-day dinner.”

Karl notes that the Circus gymnasticus of Christoph de Bach is in Vienna.

Karl reports that Holz likes Wittmann’s restaurant in the Singerstrasse very much. Karl is interested in finding out if there is any truth to that. “He says that one eats like princes there.” Uncle Ludwig comments that it is odd someone who dresses as shabbily as Holz is so appreciative of good food. Karl answers, “He does not care about clothes, the more so about food and especially drink.”

Conversation Book 110, 18v-22r.

The sixth concert of the London Philharmonic Society is held this evening, with concertmaster Franz Cramer conducting. The concert opens with Beethoven’s second symphony in D, op.36, while the next to last piece is the Trio “My soul with rage” from Mount of Olives, sung by Miss Paton, Mr. Sapio and Mr. Phillips. “Beethoven’s symphony (No. 1 of Cianchettini’s scores) abounds in all the varieties of this composer’s rich fancy: the expression and energy of the opening adagio—the brilliancy and vigour of the following allegro—the exquisite beauty of the larghetto, which is quite vocal in its expression—the playfulness, and unexpected modulation of the scherzo, with the delicious harmony of the succeeding trio—and the spirit, almost intoxicating of the finale—these altogether leave one in a state of excitation which the repose of a full half hour would hardly subdue. In such cases it is to be wished that a short interval were granted for the gradual subsidence of the exalted and almost over-wrought spirits: if a few minutes only were allowed, the mind would be better prepared for what succeeds, than it usually is when hurried to attend to something which, though perhaps differing in character, demands nearly the same attention.” The Harmonicon of June 1826, Nr.XLII at 129-130.

The Harmonicon reviewer continued, “Of the vocal portion of this concert, the duet, ‘Amor possenti nome,’ from Rossini’s Armida,—the only good thing in the opera,—was extremely well sung; so was the fine trio from The Mount of Olives.”

Uncle Ludwig wonders what he owes on the Musical History by Charles Burney, the volumes sent to him by the author’s granddaughter, Sarah Burney Payne. [She had visited Beethoven last September in Baden, and he wrote the little Allegretto quasi andante piano piece in G minor, WoO 61a, for her.] Holz advises that “You do not have to pay anything for the books: it was the expressed will of Miss Payne that you were to receive them in your apartment franco.”

Holz saw poet Christoph Kuffner, who sends his warmest regards. He expects to have the libretto of the oratorio Saul for Beethoven within 4 weeks, 5 at the most.

The housekeeper says that she cannot do everything at once; she has to dish up everything out there and carry it in here, as the other one is baking.

Holz asks whether Beethoven read yesterday’s Theaterzeitung. [The Saturday, May 13 Theaterzeitung included an anecdote about Abbé Stadler leaving concerts before Beethoven’s works are played.] Stadler [described as “A.B.” in the anecdote] is not a bad person. But the anecdote is true, Holz adds. Karl comes to Stadler’s defense: “I think that he is wronged. Your quartets were always the last to be played at the Schuppanzigh concerts; he lives far away, and as he is already old it is difficult in winter for him to go home so late. This is at least what Schuppanzigh says.” Karl then makes a pun his uncle surely appreciated: “One could also say: A B C D {Abbé cédoit}[It must be the Abbé].

Karl notes they are having goose liver. He comments that Holz orders the housekeeper around as if he were master of the house.

Court Councilor Ignaz von Mosel was pleased with Beethoven’s acceptance of the dedication of the quartet by his friend Baron Karl August von Klein. He thanks Beethoven for his favor and offers to provide services in return, whenever that may be.

Karl asks whether his uncle has looked at the libretto Mainacht [May Night] by Friedrich August Kanne. [He has not yet made any decision about this libretto, since Schindler will pester him about it later this month.]

Karl asks whether the housekeeper will be staying. The housekeeper gave her notice 8 days ago [May 6.] But only her, not the maid. She is also making English eggs with chaudeau, but Karl doesn’t know what that is. The maid is also able to cook, she made the pastry. Their flour is very good. [Karl had remarked on the high quality of the flour yesterday as well.] Holz observes that they are out of eggs again.

Frau Nanette Schechner [often called Anna Schechner, (1804-1860)] is in Vienna; she is going to perform in The Swiss Family by Joseph Weigl. Holz says she is supposed to be outstanding in the role of Fidelio.

Holz comments that red wine should not be served as cold as white wine, if it is to taste good.

Holz tells Beethoven that Tobias Haslinger was very vexed at having to send word to Beethoven about the announcement of the Quartet op.127, as though he were a president.

Artaria asks that Beethoven not forget him when he decides who will publish the new quartet. op.131.

Halm’s arrangement of the Grosse Fuge is problematic. He recognizes there are issues with the treatment of the two fugal subjects. “Otherwise, he is boasting that he made it so well,” Holz adds. “I do not like it when you have to deal with such things for a long time, so that is why I wanted to quickly find a way out [for you.]” Halm has never understood a fugue.

Today Cherubini’s Mass was performed. [This conversation book entry is the only record of such a performance today.]

Beethoven’s friend poet Ignaz Castelli read his poem on the recovery of the Emperor to the Empress. He will certainly receive a box for it. He is now translating The White Lady from the French to German, for performance at the Kärntnertor Theater; this opera will feature Schechner. The music is by François Adrien Boieldieu. [The opera will be premiered in its German version at the Kärntnertor on Thursday, July 6.]

Karl needs to leave and requests his allowance: “I ask you for some pecunia.”

Conversation Book 110, 14v-18v.

Tomorrow is Whitsunday, the beginning of the first major summer holiday, running through Monday the 15th. Karl complains that the professors always assign a great deal of work to be done over the holidays. He can scarcely get it done. Making the fair copies to turn in is the most disagreeable part since it consumes a great deal of time.

Karl notes that the flour his uncle has is excellent; he should have pastries made more often. The very finely ground flour he has is particularly good.

Uncle Ludwig wants to see publisher Mathias Artaria tomorrow. Karl says he will arrange for him to come to see Uncle Ludwig at 10 o’clock.

Uncle Ludwig shows Karl the Musical History by Charles Burney that he has received as a gift from London. Karl notes that the four heavy volumes must have cost a lot to ship. He marvels that Uncle Ludwig didn’t have to pay anything. In Vienna, importing just a quartet costs a florin C.M.

Karl mentions that Brother Johann has been buying shares in the Austrian National Bank. But now is not a good time to be buying; the share prices are volatile and he loses about 30 florins C.M. on every share he buys. Uncle Ludwig asks why he does it then. Karl shrugs and says that his wife Therese advised him to do it.

Ludwig mentions that Johann has been asking him to come out to Gneixendorf for the summer again. But being around Therese would be unpleasant. Karl suggests that he come along. “If we were together, they would not obstruct you. You could live isolated; I mean only for a couple days, if he picked you up.” Ludwig is unconvinced.

Karl mentions that in unpaid assistant Karl Holz’s opinion, Conrad Graf’s Broadwood piano from London is not as good as Ludwig’s. If Graf were to modify the piano to be more like his, they would probably hold it against him.

Karl, keeping up his fondness for linguistics, is translating the story of the contest of music between Apollo and Marsyas on lyre and flute from the Latin version by Diodorus Siculus, comparing it to that rendered by Johann Nicolaus Forkel in his Allgemeine Geschichte der Musik [General History of Music]. He’ll translate it in parts.

Karl now has to hurry in order to be home by half past 4. It will be dark soon. “In passing, I’ll ask Artaria to be here at 10 o’clock, when he will certainly not fail to appear.—I’ll see you again tomorrow.” Karl departs. He does not, however, find Artaria at home, so he will not be at Ludwig’s apartment tomorrow. Former unpaid assistant Anton Schindler finds two blank pages here after Beethoven’s death, and fills them in with fraudulent entries making it look like he was giving Beethoven advice about Holz, Galitzin and Stephan von Breuning.

Conversation Book 110, 10r-13v.

Today’s Theater-Zeitung, Nr.57 at 230, includes an anecdote by Ignatz Goldschmied related to Beethoven. “A.B. [Abbé Stadler], renowned as a learned composer, is already too old and therefore too complacent to follow the bold flight of ideas of our ingenious Beethoven. At musical Akademies, he makes a point of leaving whenever the performance of one of this hero’s magnificent works begins. This happened again recently. Several noticed it and expressed themselves somewhat harshly about it. “Gentlemen,” said G., “You are mistaken. The good A.B. is more of an enthusiast for Beethoven than you or I. We are all swept away when we hear his magnificent compositions, but A.B. is already swept away when they begin.” This anecdote will be mentioned in discussion between Holz and Beethoven tomorrow.

Beethoven is displeased with the delays from Lipscher in getting the payment from Prince Galitzin, who had previously been prompt in delivering the funds due to him. In the beginning, Holz thought it would be best to write to Galitzin, but the courier will get back to Vienna sooner than they will get an answer by mail from Russia, so they may as well wait.

Weber’s new opera Oberon was well received in London, Holz reports, but the music was considered too learned. [The premiere of the opera occurred at Covent Garden on April 12, 1826. The first reports of the reception of the opera that reach Vienna probably were in the May 1826 issue of The Harmonicon.]

Holz went to the opera at the Kärntnertor Theater the day before yesterday [May 10] and saw Der Schnee [The Snow, the German version of Daniel François Auber’s comic opera La neige (1823)]. Amateur vocalist Joseph Preisinger (1796-1865) has made progress, to Holz’s astonishment. “I have only heard such a clear diction from [Luigi] Lablache.” Beethoven asks whether Preisinger is a baritone; Holz tells him he is more a bass. Holz did not see concertmaster and former unpaid assistant Anton Schindler amongst the first violins, however. “He [Auber] writes too difficultly for such theater singers; there are intervals that the choristers will never hit.”

Publisher Mathias Artaria sends his regards to Beethoven and wishes to speak with him in a few days. Holz asks whether Beethoven would like him to come along. “He knows that you have had offers elsewhere of 80 ducats for the quartet [op.131] and of 100 ducats for the 6 lieder [probably including the lieder offered to C.F. Peters in 1822]. He will pay the same amounts; he only comes to ask you to entrust him with it.” Beethoven’s answer is not recorded, but Artaria does not publish the new quartet. Perhaps he is annoyed that Artaria has not yet published the op.130 quartet that was sold to him earlier.

Beethoven starts computing his incoming funds for the summer. Holz points out to him that the dividends on his bank shares are payable in July as well.

Conversation Book 110, 7r-9v.

Artaria today pays Anton Halm 40 florins for his arrangement of Beethoven’s Grosse Fuge for four-hands piano, according to the account books of Artaria, which state “to composer Halm for the arrangement of Beethoven’s Fugue.” Nottebohm Zweite Beethoveniana p.365.

• buy chickens.

In the Imperial Augartensaal, a morning concert is given by violinist Ignaz Schuppanzigh. The concert had originally been scheduled for May 1, but was postponed for a week and a half due to bad weather. The concert opens with the “latest overture by Beethoven (in C)” which would be the Name-Day Overture, op.115, which had only recently been published even though it was more than ten years old at this point. Later in the concert, the Grand March with Chorus from the Ruins of Athens, op.114 is presented. Schuppanzigh himself also plays a solo Adagio for violin by Beethoven [the slow movement of the Violin Concerto op.61], as well as Boleros by Rodolphe Kreutzer. The Leipzig Allgemeine musikalische Zeitung of June 28, 1826 (Nr.26), rather dismissively characterizes the concert as comprised of “on average, solid, passable stuff.”

The Name Day Overture is here performed by the Junge Philharmonie Wien, conducted by Michael Lessky:

The coverage in the Berliner Allgemeine musikalische Zeitung of August 9, 1826 (Nr.32) at 259 states, “Herr Schuppanzigh greeted the first of May as usual, though admittedly as a limping messenger, a whole eleven days later, when, at the onset of the merry month of May, the most unfriendly Boreas and Jupiter pluvits ruled [i.e., a windy and rainy day] with a morning concert in the Augarten. This musical dejeuner opened with Beethoven’s newest overture; then followed two bravura pieces that have not been new for a long time: an Aria by Raimondi, sung by Dem. Heckermann, and piano variations on the Sentinelle, played by Fraulein Salomon; and one must admit that both artists were perfectly equal to their by no means easy tasks. We once again enjoyed Beethoven’s March and Chorus in E-flat [op.114, from The Ruins of Athens], and his lovely violin Adagio wittily performed by the concert host. The most favorable impression, however, was produced by a highly accomplished poem, ‘The Vision,’ by Grillparzer, and a new hymn to the Emperor’s recovery composed by Konr. Kreutzer.”

Unpaid assistant Karl Holz comes to Beethoven in the afternoon, probably around mid-day dinner time. The composer asks whether there has been any further communication with Alois Zettler about the copyright decree. Not yet, but Holz assures that he will go to him again.

Holz did see Court Councilor Ignaz von Mosel and told him that he’d bring the letters today for Baron Karl August von Klein and others.

Beethoven asks how things went at Ignaz Schuppanzigh’s outdoor concert at the Augarten this morning. “Everything went well. The overture and the March with Chorus pleased very much. Mylord [Schuppanzigh] played as usual; much of it was too difficult for him, the presentation excellent. Beethoven observes one area that Schuppanzigh has difficulty with and Holz adds, “and the high registers.” The G-major sonata was too difficult for him in terms of its bar structure.

Holz helps Beethoven go through his mail. There is a letter from courier Augustin Lipscher in St. Petersburg. He had taken the “third quartet” [op.130] and was supposed to bring back the money from Prince Nikolai Galitzin. He went to the home of the Prince, who excused himself, saying he had no time, and asked Lipscher to come back another day. Holz summarizes, “Lipscher then went 5 or 6 times but was never received; all kinds of excuses were given; a so-called blue note of 5 f. given to a servant helped him finally get through to the Prince again; he was rather embarrassed, fumbled through his scores, and finally said that Lipscher could come to him before his departure for Vienna and receive the money. The fellow believes it is nothing more than a Russian trick! But he adds that he is not to be put off so easily; he thinks that he will be here in 4 to 5 weeks.”

Tobias Haslinger is no longer friendly to Holz and does not even greet him. Holz believes that the Steiner firm is more concerned with having their publications announced and praised than dealing fairly with Beethoven. “[Ignaz von] Seyfried, [Baron Edouard von] Lannoy, [Joseph] Blahetka, [Wilhelm] Klingenbrunnger, and [Ferdinand] Piringer have been scribbling/bribing.”

Holz ran into Brother Johann at the Augarten concert this morning, in the company of Lichnowsky (with whom he continued to be friendly, probably because their wives were related, even though Lichnowsky is no longer in contact with Ludwig). He said he would come and dine with Ludwig and stay until 4 o’clock. [There is no indication in this conversation book of Johann coming today, but it is possible that a second conversation book was being used at the time, as was the case later in May.]

They are having chicken for dinner. Beethoven thinks it might be useful to keep live chickens. Holz agrees, “You could set up a small chicken coop in the kitchen; it would be very beneficial to your economy.” Beethoven for a change is pleased with the current housekeeper; she runs a tight ship, which he appreciates. That is Holz’s view as well: “She has always been very diligent; if she had left you, I would have taken her in immediately.”

Holz can pick up the pension for Karl, but he needs the receipt signed by him.

Holz asks whether Beethoven likes asparagus. [Like many people in Germany, he does indeed.] Holz advises that asparagus is now at its cheapest.

The chicken for dinner was not thoroughly cooked, however. Beethoven asks the current price of a chicken. Holz tells him 1 florin.

Holz departs to go see whether Alois Zettler has learned anything more about the copyright decree that supposedly requires publishers to get Beethoven’s approval before printing his works.

Conversation Book 110, 4v-7r.

Beethoven makes a note, possibly about what he had for breakfast: “Brown sauce. Toast.”

Holz returns (the basement apparently being dry, because he makes no comment about it). He says he will get a small book where Beethoven can write down what fish he wants to buy from fishmonger Therese Jonas, and what the cost is, and the bill can be paid monthly or quarterly. Beethoven can have fish from her daily, if he wants.

Holz asks whether Beethoven has read the May Night libretto by Friedrich August Kanne that Anton Schindler dropped off a few days ago. Holz remarks about Kanne, “The poor devil needs money and probably won’t get any from [Kärntnertor Theater manager Louis Antoine] Duport until the book has passed your censorship; do the right thing and finish [reading] it soon.”

Beethoven asks again about the elusive copyright decree that supposedly prevents publishers from printing his works without his permission. Holz went to the Imperial and Royal Supreme Police and Censorship office and spoke to Court Secretary Alois Zettler (1778-1828) there. Holz got the runaround, because Zettler directed him to the Head Censor, Franz Sartori. But Sartori was the one who had sent him to Zettler. So, Zettler said Holz should come back the day after tomorrow [Friday, May 12] since Zettler wants to talk to Sartori in the meantime. Beethoven asks if Zettler knew when the decree was issued. No, Holz says, “He does not know which year.”

Publisher Mathias Artaria also plans to come see Beethoven soon. He wants to talk to Beethoven about the new quartet, op.131 in C-sharp minor [which is well under way, but not yet completed] and request that he be allowed to publish it. He will also bring a copy of the General History of Music by Charles Burney, which was sent as a gift for Beethoven by Burney’s granddaughter. Perhaps the box with it will have an answer to Artaria’s inquiry as to whether there is a large scale engraving of the Handel monument in Westminster Abbey, such as Beethoven had desired.

The old Tobias [Sigmund Anton Steiner] will be back from the Leipzig Trade Fair in a few days. “Also, as a merchant, Tobias is a genuine ass. Recently—so I was told—someone came to buy the recently released Quartet in E-flat major [op.127]. My god, said Tobias, no human being can play that! And the customer really did not buy it. The Schotts [Beethoven’s publisher of that quartet] can be grateful for such commissionaires. It is nothing but envy and petty revenge. I had to laugh when he said in anger that ‘Beethoven is only here to embitter my life!’ I said: ‘He is not there because of you at all, and never has been.'”

Beethoven dictates a letter to Holz, dated today and addressed to Baron Karl August von Klein in Mainz, who had forwarded a string quartet to Beethoven for his comment and to ask whether Beethoven would accept the dedication of the quartet. “Your excellency!”

“Through Court Councilor [Ignaz] v. Mosel, I just received a letter from you which I could not answer immediately due to being overburdened. You wish to dedicate a work to me; however few claims I may make to such things, I will nevertheless gladly accept the dedication of your fine work. You also want me to act as a critic, but do you not consider that I myself must be criticized! Yet I think, along with Voltaire, “that a few mosquito bites cannot halt a spirited horse in its course.” In this regard, I ask you to follow my lead. But so that I may approach you not in a veiled manner, but openly, as I always am, I will simply say to you that in similar future works you might pay more attention to the separation of the voices.”

“As it will always be an honor for me if I can be of service to you in any way, I commend myself to your kind regards and remain, with utmost respect,”

“Your most honorable Beethoven.”

Brandenburg Letter 2153; Anderson Letter 1484. The original is held in Eichenzell, in the Archive of the Hessian House Foundation. Klein’s letter to Beethoven is not known to survive. Klein later attempted to have C.F. Peters in Leipzig publish the quartet, not knowing that Peters wanted nothing to do with Beethoven. The quotation by Voltaire is from chapter 11 of L’ingenu, in the title character’s reaction to reading some scathing literary reviews.

The topic of Maurice Schlesinger’s desire to publish Beethoven’s complete works in Paris comes up. Beethoven has some qualms about circumventing the publishers to whom he has already sold the works. Holz disputes that idea. “Even if the author did not have the right to re-publish the works that have been sold, the law could easily be bypassed, if, for instance, a foreign publisher announces the publication of Beethoven’s complete works, as revised by him. There is no prohibition against revision, and it makes no difference whether you have received your fee for doing the revision, or for the publication, in which you took no direct part. And if you actually make only insignificant changes, yet still make changes in every work, who would not be happy to have these supposedly improved works in a completely identical edition?” Holz notes that Goethe did just that, shifting a few words around and publishing a new edition of his works.

Holz notes that baritone Franz Anton Forti (1790-1859), who had sung Pizarro in the 1814 and 1822 Vienna productions of Fidelio, is performing the opera “Der Schnee” (The Snow) by Daniel Auber. [This performance occurred on May 10, 1826, allowing these entries in the conversation book to be dated with precision.]

Holz offers to come and pick Beethoven up tomorrow [May 11], to attend Schuppanzigh’s concert in the Augarten if the weather is fine. Beethoven declines and tells Holz to attend without him. Beethoven asks whether the letter to Klein and other letters written today should be sealed. Holz says they can be sealed; he’ll take them to the post office tomorrow.

Conversation Book 110, 1ar-4v.

Today’s Leipzig Allgemeine musikalische Zeitung Nr.19 at 313-314 gives an account of the Musikverein in Vienna, which over the winter held 16 Thursday evening entertainments arranged by the so-called “Small Verein” featuring new artists. Among the works performed in this series of concerts was Beethoven’s piano Fantasia op.77, his string quintet in E-flat, op.4, as well as a selection of his lieder, including the performance of Lied aus der ferne, WoO 137, on March 2, 1826.

The Fantasia for Piano op.77 is here performed by Yeon-Min Park at the 2017 Seoul International Music Competition:

The Berliner allgemeine musikalische Zeitung for today (Nr.19), in its lengthy continued account, concluding at 151, of a performance of Cherubini’s second solemn Mass in D minor in Vienna, also mentions that over the past year the Musikverein has performed other solemn masses, including one by Beethoven. This is presumably the performance of the Mass in C op.86 in December of 1825 that was referenced in the February 1, 1826 Leipzig Allgemeine musikalische Zeitung (Nr.5) at 80.

Beethoven begins by noting a column of monetary numbers. He is interrupted by the housekeeper, who asks whether he wants poached eggs on his salad.

Later, the room cleaner arrives. This seems to be Beethoven’s only visitor today, since the other entries are all by the housekeeper, relating to Beethoven’s meals.

For supper, she asks him whether he wants two chops tonight, and what he would like in his soup.

Conversation Book 110, 1v.

The Pastoral Symphony is here performed by Daniel Barenboim conducting the West-Eastern Divan Orchestra in the 2012 Proms at the Royal Albert Hall: