from his left cheek to my right that he had none left. Did we laugh? Beethoven must also have learned privately how matters had gone with me; for he was acquainted with many of my youthful escapades, with which he only teased me. In many cases he disclosed a really paternal interest in me.

"But with all his kindness" continues the "Harmonicon," Beethoven would not give Ries instruction in thoroughbass or composition. He said it required a particular gift to explain them with clearness and precision, and, besides that, Albrechtsberger was the acknowledged master of all composers. This latter had almost given up teaching, being very old, and was persuaded to take a new pupil only by the strong recommendation of Beethoven and by the temptation of a ducat a lesson. Poor Ries' ducats ran only to the number of 28; after this he was driven to his books again.

So it appears that he was Beethoven's pupil only upon the pianoforte. The manner in which he was taught is also described in the "Notizen":

When Beethoven gave me a lesson I must say that contrary to his nature he was particularly patient. I was compelled to attribute this and his friendly disposition, which was seldom interrupted, chiefly to his great affection and love for my father. Thus, sometimes, he would permit me to repeat a thing ten times, or even oftener. In the Variations dedicated to the Princess Odescalchi (Op. 34), I was obliged to repeat the last Adagio variations almost entirely seventeen times; yet he was still dissatisfied with the expression of the little cadenza, although I thought I played it as well as he. On this day I had a lesson which lasted nearly two hours. If I made a mistake in passages or missed notes and leaps which he frequently wanted emphasized he seldom said anything; but if I was faulty in expression, in crescendos, etc., or in the character of the music, he grew angry because, as he said, the former was accidental while the latter disclosed lack of knowledge, feeling, or attentiveness. The former slips very frequently happened to him even when he was playing in public.

“I often played on two fortepianos with Ries," says Czerny, "among other things the Sonata, Op. 47, which had been arranged for two pianofortes. Ries played very fluently, clear but cold."1

Here we have a key to the identity of so many of Ries's and Czerny's facts and anecdotes of those years, written out by them independently; the latter, as he assures us, having first become acquainted with the "Notizen" through the quotations of Court Councillor Lenz. The two brilliant boys, thrown so much together, would never weary of talking of their famous master. The stories of his oddities and eccentricities, minute facts relating to his

1From O. Jahn's posthumous papers.

THE RECOLLECTIONS OF RIES AND CZERNY

315

compositions, were, therefore, common property; and it is clear that some which in this manner became known to Ries at last assumed in his memory the aspect of personal experiences and, as such, are related in the "Notizen." The author of this work once introduced an incident into something that he was writing, under the full conviction of having been an actor in it, which he now knows was only related to him by his brother. Yet only some six or seven years had elapsed, whereas Ries wrote of a period which ended thirty-five years before.

Another remark of Czerny's is as follows:

When the French were in Vienna for the first time, in 1805, Beethoven visited a number of officers and generals who were musical and for whom he played Gluck's "Iphigenia in Tauris" from the score, to which they sang the choruses and songs not at all ill. I begged the score from him and at home wrote out the pianoforte score as I had heard him play it. I still have this arrangement (November, 1852). From that time I date my style of arranging orchestral works, and he was always wholly satisfied with my arrangements of his symphonies, etc.

A lad who, though not yet fifteen years old, was able to write a pianoforte score of such an opera after a single hearing, certainly deserved the testimonial to his talent which, though written by another hand, was signed at the time by Beethoven and sealed. The testimonial, in the possession of the Gesellschaft der Musikfreunde in Vienna, runs as follows:

We, the undersigned, cannot withhold from the lad Carl Czerny, who has made such extraordinary progress on the pianoforte, far surpassing what might be expected from a boy of fourteen years, that for this reason, and also because of his marvelous memory, he is deserving of all possible support, the more since his parents have expended their fortune in the education of this promising son.

Vienna, December 7, 1805.

Ludwig van Beethoven. (Seal)

The master had early and wisely warned him against a too free use of his extraordinary memory. "My musical memory,' Czerny writes,

enabled me to play the Beethovenian works by heart without exception, and during the years 1804-1805 I was obliged to play these works in this manner at Prince Lichnowsky's once or twice a week, he calling out only the desired opus number. Beethoven, who was present a few times, was not pleased. "Even if he plays correctly on the whole," he remarked, "he will forget in this manner the quick survey, the a vistaplaying and, occasionally, the correct expression."

Very neat is the anecdote which Czerny relates in the "Wiener Musikzeitung" of September 28th, 1845, how, after he had

outgrown his studies, he was deservedly reprimanded for a few additions which he made on his own account in one of his master's works.

On the whole he was pleased with my performance of his works but he scolded me for every blunder with a kind freedom which I shall never forget. When once, for instance, I played the Quintet with Wind-Instruments with Schuppanzigh, I permitted myself, in a spirit of youthful carelessness, many changes, in the way of adding difficulties to the music, the use of the higher octave, etc.-Beethoven took me severely to task in the presence of Schuppanzigh, Linke and the other players. The next day I received the following letter from him, which I copy carefully from the original draft:

"Dear Czerny:

"To-day I cannot see you, but to-morrow I will call on you myself to have a talk with you. I burst forth so yesterday that I was sorry after it had happened; but you must pardon that in an author who would have preferred to hear his work exactly as he wrote it, no matter how beautifully you played in general. I will make loud amends at the Violoncello Sonata (I was to play his Violoncello Sonata with Linke the next week). Be assured that as an artist I have the greatest wishes for your success and will always try to show myself,

Your

true Friend

Beethoven."

This letter did more than anything else to cure me of the desire to make any changes in the performance of his works, and I wish that it might have the same influence on all pianists.

Chapter XXI

Beethoven's Love-Affairs-The Letter to the "Immortal Beloved"-Giulietta Guicciardi-Therese BrunswickCountess Erdödy-Therese Malfatti-Confused Chronologies-Many Contradictory Theories and Speculations.

IN

N the letter dated November 16, Beethoven's strong expressions of desire and intention to exhibit his powers as pianist and composer in other cities, are striking and worthy of the reader's attention, yet need no comment; but a new topic there introduced must be treated at some length, not because it is of very great importance in itself, but as an episode in the master's life which has employed so many pens and upon which biographer and novelist seem to have contended which could make the most of it and paint it in the highest romantic colors.1

The sentences referred to are: "I am living more pleasantly since. I live more amongst men. This change has been wrought by a dear fascinating girl, etc." Notwithstanding all that has been written on this text there is little reason to think that Beethoven's passion for this particularly fascinating girl was more engrossing or lasting than at other periods for others, although peculiar circumstances subsequently kept it more alive in his memory. The testimony of Wegeler, Breuning, Romberg, Ries,

"The Editor of this English edition of Thayer's "Life of Beethoven" is unwilling to admit that the author's argument against the Countess Guicciardi as the lady to whom the famous love-letter which is the basis of the episode referred to by the author, has been disproved; or that the burden of proof is against Thayer's theory (never put forward as a demonstrated fact, but rather as what the scientists call a "working hypothesis") that the object of his love at the time the letter was written was the Countess Therese Brunswick (or Brunsvik, as the Hungarian branch of the family wrote the name). The question is one of great difficulty, however, and the Editor has thought it wise, expedient and only fair to the memory of Mr. Thayer, to bring together the disjecta membra of his argument as they are to be found in the body of Vol. II and the body and Appendices of Vol. III of the original German edition, in a continuous chapter, and then to add, in the form of a comprehensive postscript, an abstract of the opinion of others and some suggestions of his own touching the woman who, though not yet definitively identified, wears the halo which streams from the title which Beethoven bestowed upon her his "Immortal Beloved." It will be observed that the question turns largely on an adjustment of dates-a necessary procedure in other affairs of Beethoven's besides those of his heart.

has been cited to the point that Beethoven "was never without a love, and generally deeply engrossed in it."

In Vienna (says Wegeler) at least as long as I lived there, Beethoven always had a love-affair on his hands, and occasionally made conquests which, though not impossible, might have been difficult of achievement to many an Adonis. I will add that, so far as I know, every one

of his sweethearts belonged to the higher social stations.

So, also, friends of Beethoven with whom Jahn conversed in 1852. Thus according to Carl Czerny he was said to have been in love with a Countess Keglevics, who was not generally considered handsome. The Sonata in E-flat, Op. 7 (dedicated to her), was called "Die Verliebte" ("The Maiden, or Woman, in Love"). Dr. Bertolini, friend and physician of Beethoven from 1806 to 1816, said: "Beethoven generally had a flame; the Countess Guicciardi, Mme. von Frank, Bettina Brentano and others." He was not insensible to ladies fair and frail. Doležalek, a music teacher who came to Vienna in 1800 and was the master's admirer and friend to the last, adds the particular that "he never showed that he was in love."

In short, Beethoven's experience was precisely that of many an impulsive man of genius, who for one cause or another never married and therefore never knew the calm and quiet, but unchanging, affection of happy conjugal life. One all-absorbing but temporary passion, lasting until its object is married to a more favored lover, is forgotten in another destined to end in like manner, until, at length, all faith in the possibility (for them) of a permanent, constant attachment to one person is lost. Such men after reaching middle age may marry for a hundred various motives of convenience, but rarely for love.

Upon this particular passion of Beethoven, the present writer labors under the disadvantage of being compelled to subordinate his imagination to his reason and to sacrifice flights of fancy to the duty of ascertaining and imparting the modicum of truth that underlies all this branch of Beethoven literature, of extracting the few grains of wheat from the immense mass of chaff. With what success remains to be seen.

When Schindler, in perusing the "Notizen,' came to the passages above quoted, with his usual agility in jumping at conclusions he decided at once, that Beethoven here refers to the Countess Julia Guicciardi, and so states in his book; probably hitting the truth nearer than on the next page, where he makes Fräulein Marie Koschak the object of Beethoven's "autumnal