TOBIAS HASLINGER BECOMES MUSIC PUBLISHER 279 Umlauf, behind his back, guided everything to success with eye and hand. The applause was great and increased with every representation. 1 "Herr v. B.," says the "Sammler," "was stormily called out already after the first act, and enthusiastically greeted." The opera was first repeated on the 26th, when the new overture in E major "was received with tumultuous applause and the composer again called out twice at this repetition." The chorus "Germania," in pianoforte arrangement, was published in June "im K. K. Hoftheater-Verlag." A characteristic note of Beethoven to Treitschke asks for the manuscript for the purpose of correcting the proof and introduces to our acquaintance a personage or two, who will often meet us henceforth to the end, and therefore merit a short personal paragraph here. The "K. K. Priv. Chemische Druckerey," the property of Rochus Krasinzky and Sigmund Anton Steiner, passed about 1810 into the hands of Steiner alone. In that year Tobias Haslinger (of Zell in Upper Austria), who had been one of Chapelmaster Glöggl's singing-boys at Linz and assistant in his music-shop, came to Vienna with the design of establishing himself in business, and there soon became acquainted with Steiner. He detailed to him his purposes and plans and induced him to withdraw his prints and other wares from Grund's bookstore in the Singerstrasse, and open a shop of his own in the narrow passage then existing at the northeast corner of the Graben, known as the "PaternosterGassel," employing him (Haslinger) as bookkeeper and manager; from which position he soon rose to be partner in the firm, “S. A. Steiner and Co." Beethoven conceived an odd and whimsical liking for the young man, and in a few years his relations to the firm became very much the same as those which formerly existed between him and the "Kunst- und Industrie-Comptoir." Haslinger had learned divers instruments in Linz, had begun the study of composition there and continued it in Vienna. His Opus 10, "Ideal einer Schlacht," for the pianoforte, had just been published -the subject of Homeric laughter to Jupiter-Beethoven and the 1Dr. Leopold Sonnleithner, in the "Recensionen" of Vienna (1861, p. 59%), corrects a mistake in an obituary notice of Chapelmaster Gläser with the remark: "I can very well remember that the opera (Fidelio') was rehearsed and conducted by Josef Weigl. Dr. Sonnleithner's authority is justly so decisive in all matters pertaining to the musical annals of Vienna, and even the slightest errors are so very rare in his writings, that if one occurs it must be corrected upon unimpeachable authority, to prevent its passing into history. Now, in the manuscript text-book above cited, is written below the list of properties: "Herr Umlauf, conducts"; and near the end of the manuscript overture to "Fidelio" stands in Beethoven's hand: "Indicate to Umlauf where the trombones enter." Treitschke is thus so fully confirmed as to leave no doubt that in this instance Dr. Sonnleithner's memory played him false. other gods. He made his place of business attractive and it became a favorite resort of composers, musicians, singers, writers for the theatre, the public press, and the like. In his correspondence with the firm Beethoven was "Generalissimus"; Steiner "Lieutenant-General"; Haslinger "Adjutant" or rather "Adjutanterl” (the diminutive of Adjutant); their assistants were "Subalterns"; and the shop, "Office of the Lieutenant-General." These titles make their appearance in a note, typical of many, written to Treitschke: The thoughts and endeavors (Dichten und Trachten) of Hr. V. Treitschke are directed to the duty of immediately delivering the manuscript to the subaltern of the Lieutenant-General's office, so that the engraved page scratched full of errors may immediately be rescratched as it ought to be, and, indeed, all the more, as otherwise the thoughts and endeavors will be frightfully scratched and beaten. Given in Paternoster Lane, at the primitive publishing house of all who publish. June 4, 1814.1 One of Beethoven's minor productions (still unpublished) was now composed for his friend Bertolini. The occasion was an evening festival arranged by the doctor at his own expense on the name-day (St. John's day) and in honor of Malfatti. It was a little piece for four voices with pianoforte accompaniment to a text written by Abbate Bondi: Un lieto brindisi Viva longhi anni, etc., etc. Invitations were extended not only to Malfatti's relatives and personal friends but to a large number of artists of the various professions, resident or temporarily in Vienna-Dragonetti among the musicians. The scene was Malfatti's villa in Weinhaus. There they feasted; the wine flowed; the cantata was sung; Beethoven, "thoroughly unbuttoned," improvised; fun and frolic ruled the hour. "The sport cost me a few hundred florins,' laughingly said the good doctor fifty years afterwards. "Fidelio" was repeated on May 26, June 2d and 4th and on Tuesday, June 7th. The theatre was then "closed because of preparations for the spectacle to be presented on the return of the Emperor." After this the theatre closed again for two days and on the 21st was reopened with "Fidelio." A letter to Treitschke was written about this time: 'Beethoven's play on words cannot be reproduced in translation. MOSCHELES'S PIANOFORTE SCORE 281 Dear and worthy Tr.! What you say about a quarter of the receipts is understood, of course! and for a moment only I must moreover remain your debtor, but I will not forget that I am-as regards a benefit performance for me I should like to have the day set on a week from yesterday, that is next Thursday. I called on Hrn. Palffy to-day but did not find him in. Do not let the opera rest too much! It is surely injurious. The day here proposed for the benefit was not granted. The "Wiener Zeitung" of July 1st contained a "Musical Notice" which may be quoted as a comment on the first topic of the above note: The undersigned, at the request of the Herren Artaria and Co., herewith declares that he has given the score of his opera FIDELIO to the aforesaid art establishment for publication under his direction in a complete pianoforte score, quartets, or arrangements for military band. The present musical version is not to be confounded with an earlier one, since hardly a musical number has been left unchanged, and more than half of the opera was composed anew. Scores in the only authorized copy and also the book in manuscript may be had of the reviser of the book, Herrn F. Treitschke, R. I. Court Poet. Other unauthorized copies will be punished by law. Vienna, June 28, 1814. Ludwig van Beethoven. Moscheles, then just twenty years of age, wrote about this time in his diary: "The offer has been made to me to make the pianoforte score of the masterpiece 'Fidelio.' What could be more desirable?" "We now find entries," says his widow, "of how he carried two, and again two numbers to Beethoven, who looked through them; and then, alternately, 'he changed little' or 'he changed nothing,' or sometimes ‘he simplified it' or 'he reinforced it.' One note reads, 'Coming early to Beethoven, he was still in bed; this day he was particularly merry, leaped up at once, and, as he was, went to the window, which opened on the Schottenbastei, to look through the arranged numbers. Naturally the street boys assembled under the window until he cried out: 'Damn the youngsters, what do they want?' I smilingly pointed to his garment. 'Yes, yes, you are right,' said he and hastily threw a dressing-gown over his shoulders. When we reached the last great duet, 'Namenlose Freude,' where I had written down the text 'Ret-terin des Gat-ten,' he crossed it out and wrote 'Rett-erin des Gatt-en'; for it was not possible to sing on 't.' Under the last number I had written fine with God's help.' 'He had forgotten, evidently, that he no longer lived in the fourth storey. He was not at home when I carried it to him; and when he sent it back under mine were the words: 'O man, help yourself." " Before bidding Moscheles farewell for the next half a dozen years, let us look at a few sentences from the preface to the English translation of Schindler's book, partly for the information they impart and partly to prevent a mistake or two from passing into history on his authority. He thus writes: In the year 18091 my studies with my master, Weber (Dionysius), closed; and being then also fatherless, I chose Vienna for my residence to work out my future musical career. Above all, I longed to see and become acquainted with that man, who had exercised so powerful an influence over my whole being; whom though I scarcely understood, I blindly worshipped. I learnt that Beethoven was most difficult of access and would admit no pupil but Ries; and for a long time my anxiety to see him remained ungratified. In the year 1810, however, the longedfor opportunity presented itself. I happened to be one morning in the music-shop of Domenico Artaria, who had just been publishing some of my early attempts at composition, when a man entered with short and hasty steps, and, gliding through the circle of ladies and professors assembled on business, or talking over musical matters, without looking up, as though he wished to pass unnoticed, made his way direct for Artaria's private office at the bottom of the shop. Presently Artaria called me in and said: "This is Beethoven!" and to the composer, "This is the youth of whom I have just spoken to you." Beethoven gave me a friendly nod and said he had just heard a favorable account of me. To some modest and humble expressions, which I stammered forth, he made no reply and seemed to wish to break off the conversation.2. I never missed the Schuppanzigh Quartets, at which he was often present, or the delightful concerts at the Augarten, where he conducted his own Symphonies. I also heard him play several times, which, however, he did but rarely, either in public or in private. The productions which made the most lasting impression upon me, were his Fantasia with orchestral accompaniments and chorus and his Concerto in C minor. I also used to meet him at the lodgings of Zmeskall and Zizius, two of his friends, through whose musical meetings Beethoven's works first made their way to public attention [?]: but, in place of better acquaintance with the great man, I had mostly to content myself on his part with a distant salute. 3 It was in the year 1814, when Artaria undertook to publish a pianoforte arrangement of Beethoven's "Fidelio," that he asked the composer whether I might be permitted to make it: Beethoven assented upon condition that he should see my arrangement of each of the pieces, before it was given into the engraver's hands. Nothing could be more welcome to me, since I looked upon this as the long wished-for opportunity to approach nearer to the great man and to profit by his remarks and 'It should be 1808. Probably on account of his deafness; for Moscheles adds: “I had seen Artaria speaking close to his ear." "Can there be any doubt now that Beethoven took Bettina to one of the rehearsals? PUBLISHERS STEAL THE PIANOFORTE SCORE 283 corrections. During my frequent visits, the number of which I tried to multiply by all possible excuses, he treated me with the kindest indulgence. Although his increasing deafness was a considerable hindrance to our conversation, yet he gave me many instructive hints, and even played to me such parts as he wished to have arranged in a particular manner for the pianoforte. I thought it, however, my duty not to put his kindness to the test by robbing him of his valuable time by any subsequent visits; but I often saw him at Mälzel's, where he used to discuss the different plans and models of a Metronome (the Chronometer), which the latter was going to manufacture, and to talk over the "Battle of Vittoria," which he wrote at Mälzel's suggestion. Although I knew Mr. Schindler, and was aware that he was much with Beethoven at that time [?], I did not avail myself of my acquaintance with him for the purpose of intruding myself upon the composer. As to the "Fidelio," Moscheles told the writer (February 22, 1856) that he was selected to arrange it because Beethoven was on bad terms with Hummel; and that to hasten the work, Hummel did arrange one of the finales; but when Beethoven received it and looked it through, he tore it to pieces without remark, or explaining why he did so. Two errors in these last sentences will at once strike the reader-that Schindler was then much with Beethoven, and that Beethoven was on bad terms with Hummel. The explanation is easy. Moscheles had translated Schindler's book, and unconsciously had adopted certain ideas from it, which in course of time had taken the form of memories. This is a common experience with us all. The true reason why Beethoven rejected Hummel as the arranger of "Fidelio" is obvious: Hummel was a man of sufficient talent and genius to have a style of his own-and one (as is well known) not much to Beethoven's taste; "Fidelio" arranged by him would necessarily exhibit more or less of this style; moreover, Beethoven could not feel the same freedom in discarding, correcting, making suggestions if the work were done by him, as when performed by a young man like Moscheles. So the score was not now published—a mistake, as the event proved, and as Beethoven himself confessed in the note to Treitschke below. "In accordance with his wish," says Treitschke, in concluding the relation from which so much has been cited,1 "I offered our work to foreign theatres; several ordered it, others declined because they already had the opera by Paër. Still others preferred to get it in a cheaper way by hiring cunning copyists who, as is still the custom, stole the text and music and sacrificed them for a few florins' profit. It was of little use to us 'In August Schmidt's “Musikalisches Taschenbuch, Orpheus," for 1841. |