A CONCERT FOR THE FRENCH INVADERS

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a theatrical poor fund, and as usual called upon him to give attraction to the first public concert for its benefit, by directing one or more of his works. During the French occupation the ordinary performances of both Court Theatres were given in the Kärnthnerthor. At the Burg—the real Court Theatre, forming, indeed, a part of the Imperial residence-after being closed some weeks, a French company opened on the 18th of July, played for a time alternately with a German one, and then held-as if in bitter irony-exclusive possession of the stage. Was not Vienna a French city? the Burg a French palace? Did not Napoleon's eagle head the "Wiener Zeitung"? At Schönbrunn the theatre was devoted almost exclusively to Italian opera and ballet, for the amusement of the French Court. Under these circumstances Hartl might reasonably expect munificent support from the conquerors for at least one charity concert for the benefit of the actors and their families. Hence, as on the 8th of September (the Nativity of the Virgin Mary) the Court Theatres would be closed, he selected that day. The programme has eluded search; but one number was the "Sinfonia Eroica," conducted by its author. Was this selected, in the expectation that Napoleon would be present, to do him homage? If so, it failed of its aim. The day before, Napoleon journeyed from Schönbrunn to Krems and Mölk. Or was it in bitter sarcasm that Beethoven chose it? An undated letter to von Collin refers to this concert. In it he asked the Court Secretary to rewrite a note which he had addressed to Beethoven when Hartl gave him the commission for the concert, and which he had lost. He goes on:

I beg of you, dear Friend, to recall to mind the contents as near as I can recollect: "that you wrote to me that you had spoken to H. v. Hartl concerning a day for a concert and that then he gave you instructions to write to me that if at this year's concert for the theatrical poor, I gave important works for performance, and would myself conduct, I might at once pick out a day for a concert at the Theater-an-der-Wien, and that under these conditions I might have a day every year. Vive vale."

Give to this note the earliest date possible, still there remain to Beethoven less than four months to the Christmas holidays, in which to complete, copy and rehearse whatever new works he intended to produce in the concert. The Pianoforte Concerto in E-flat major is the only work known to have been ready; what others may he have had in contemplation? The question is, in itself, rather interesting than important; its bearing, however, upon other matters hereafter warrants its discussion at some length.

Let us turn again for a moment to the so-called "Studien.” On the margin of the "Materialien zum Generalbass," Beethoven wrote: "from 101 to 1000 florins a quarter-all residents or parties to rent-contracts without distinction." This was, of course, written at the time of the forced contribution of June 28th, but is no proof that the book was then just begun. It shows merely that it was lying before him, offered him a convenient vacant space for the memorandum.1 Again on page 17, on the upper margin, stands: "Printer's errors in the sonata for pianoforte with obbligato violoncello." This sonata, beyond all question, was the one dedicated to Gleichenstein, published early in April by Breitkopf and Härtel, and sent to the composer before the breaking of post communications by the advance of Napoleon's armies. Now, whether Beethoven's words were merely a memorandum, or -as Nottebohm is of opinion-were the heading of a sheet intended to receive a list of the printer's errors-in either case we must suppose them to have been written immediately upon the composer's first examination of the printed work-at the latest in April.2

Now, it cannot be reasonably supposed that the idea of selecting and arranging such a series of "Studien" for the Archduke's instruction as these bound sheets contain was suddenly conceived and executed with no previous study nor protracted examination of the then existing authorities, and all during the few weeks when Beethoven was confined to the city. It is equally improbable that the Archduke's studies in the theory of music did not begin until after his return to Vienna (January, 1810), when he was 22 years of age. We can discover no objection to the following hypothesis as to the origin of the bound sheets in question; namely, that Beethoven began by making his extracts from Bach, Türk, etc., as they were needed in the progress of his lessons; and that the execution of the task complete was an afterthought, arising from want of occupation at a time when he felt himself unfitted for original composition. The inference is, that, for several months, his thoughts had been more than ordinarily turned toward theoretical studies.

'In view of the many indications, especially in the letters to Breitkopf and Härtel, that Beethoven did not work with any continuity from the beginning of May to the end of July, this memorandum assumes a different aspect and might serve to prove that the resumption of work on the first movement of the E-flat Concerto was not made till June or July, and that the entire Meinert sketchbook belongs to the period from July to October.

Nor is this longer to be maintained, since Beethoven reports these errors to Breitkopf and Härtel on July 26, 1809, “having had attention drawn to them by a good friend."

STUDY-MATERIAL FOR A ROYAL PUPIL

Now, to the question just proposed.

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In the late Gustav Petter's Collection of Autography (in Vienna) is a sketchbook of Beethoven's-148 pages in extentlargely devoted to studies for two works, but containing themes and hints for many others, with an occasional characteristic note or name: random, not always strictly musical. Those who have had occasion to study this book-the present writer included— have heretofore assumed, that it belongs to the year 1812. The correctness of this assumption must be tested.1

On the first page are two measures of music-merely a succession of chords-with this remark: "Such (passages) should produce another effect than the miserable enharmonic evasions which every school Miserabili can write, they ought to disclose the change to every hearer." This, though not fixing the date, does at least suggest the time when its writer's mind was unusually occupied with theoretical studies. On the same page is this: "Cotton in my ears at the pianoforte frees my hearing from the unpleasant buzzing (das unangenehme rauschende)”—which suggests a time when his organs of hearing were still very sensitive, and he had not yet abandoned his pianoforte playing. Suggestions so vague cannot be offered as argument; but if any weight be granted to them, it is in favor of the winter 1808-9. Something more than a mere suggestion is offered on page 18. Here Beethoven has written: "Overture Macbeth, the chorus of witches comes in at once.' Whether the succeeding sketches belong to this overture is a question for a musician. Now that first act of "Macbeth," read by Röckel in 1808, together with the first act of the Oratorio, "Die Befreiung Jerusalems"-both written for Beethoven-lay before the composer in print early in the year 1809. Collin had inserted them in the "Hoftheater-Taschenbuch" of that year. The poet died in 1811, leaving both unfinished. To suppose that Beethoven, in 1812, gave thought to an incomplete text by a deceased poet, is absurd. His memorandum is evidently the record of an idea which occurred to his mind on perusing the fragment, and determines the date of the first part of the sketchbook to be the beginning of 1809. Passing to the middle of page 22, one comes upon this:

Viole

segue

Nottebohm, "Zweite Beethoveniana,' p. 188 et seq., contends that the pages in the so-called "Pettersches Skizzenbuch" containing the sketches for "Macbeth" and the D major Trio were not originally part of the book and that it dates from 1812. Neverthless, Thayer, who was familiar with the views divergent from his, is entitled to have his argument set forth as he wrote it.

With few interruptions, such as a theme for a "symphony without drums," "good triplets of another sort," the Allegretto and Finale of the Seventh Symphony are the subjects of the studies for more than forty pages. That modest gem-the theme of the Allegretto-is still the same throughout; but how astonishing the number and variety of forms for its setting, that were tested, before the majestic, the sublime simplicity was attained, which satisfied the exquisite taste of its creator!

On page 71 begin the sketches for the first, on page 83, for the last movement of the Eighth Symphony. These two Symphonies, then, were the grand orchestral works in preparation for the proposed concert. Scattered along this part of the sketchbook are divers subjects for pianoforte works; as if Beethoven had in mind a companion piece to the E-flat Concerto for the farther display of his powers. In our notes we find, "Overture-Concerto,' p. 73; p. 83 "Concerto in G"-"Concerto in G or E minor". "Adagio in E-flat"-"Finale Tutti"; and near the bottom of the same page "Polonaise for Pianoforte alone." But the master had no new vocal work for the occasion. Do not the following memoranda-accompanied in the sketchbook by numerous studiesshow how the deficiency was to be supplied? Immediately following the "Polonaise" we read:

Freude schöner Götter Funken Tochter. Work out the overture. Again on leaf 43:

Freude schöner Götter Funken Tochter aus Elysium. Detached fragments, like princes are beggars, etc., not the whole.

On the same page again:

whole.

Detached fragments from Schiller's Freude brought together in a

One of the sketches (according to our copy) begins thus:

At or near this point the book was for the present laid aside; for the intended concert was abandoned, and Beethoven's studies were abruptly turned in other directions.

MUSIC TO "EGMONT" PROJECTED

The explanation of this is easy.

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In the lists of "newly performed plays" in the two Vienna Court Theatres from August 1, 1803 to July 31, 1805, and from August 1, 1806 to December 31, 1807, Schiller's name does not once occur; not so in the lists after Hartl's undertaking the direction, January 1, 1808. Here we find:

1808: February 13, "Macbeth," after Shakespeare; July 23, "Kabale und Liebe"; December 17, "Phædra," after Racine; 1809: August 23, "Don Carlos"-all by Schiller.

Thus had Schiller suddenly become a leading topic in the conversation of theatrical circles. One sees now how Collin and Beethoven hit upon the "Macbeth" as a subject for opera; and how the composer's youthful idea [see Vol. I, p. 132] of making the "Ode to Joy" the subject of a composition was recalled to mind.

It does not appear from any records at hand, that either of the above-named dramas was produced with music composed for it; but Hartl now determined, with his next Schiller drama, to put one by Goethe in rehearsal and to provide both with original music. "When it was decided," writes Czerny,

to perform Schiller's "Tell" and Goethe's "Egmont" in the city theatres the question arose who should compose the music. Beethoven and Gyrowetz were chosen. Beethoven wanted very much to have "Tell." But a lot of intrigues were at once set on foot to have "Egmont," supposed to be less adaptable for music, assigned to him. It turned out, however, that he could make masterly music for this drama also and he applied the full power of his genius to it.1

Perhaps Beethoven's experience with the "Ode to Joy" and the "Egmont" just at this time was the origin of a fine remark to Czerny. "Once, when the talk was about Schiller, he said to me: 'Schiller's poems are very difficult to set to music. The composer must be able to lift himself far above the poet; who can do that in the case of Schiller? In this respect Goethe is much easier."

The order for the immortal "Egmont" music, by presenting the completion of new compositions, necessarily caused the concert to be abandoned, and Beethoven was at last able to seek the much needed rest and recreation, both physical and mental, away from the city, its cares and duties. It needs scarcely to be said that the condition of affairs prevented Beethoven from going into the country until late in the summer of 1809.

To what "happy corner in the country," if indeed to any, he now retired, is not positively known. "He was often in Hungary,"

1Czerny's statements must be corrected in a few respects in view of Beethoven's own statements in a letter to Breitkopf and Härtel, dated August 21, 1810, as will appear later.