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50 ducats appear Archduke Rudolph Artaria asked autograph B-flat Bach Baden Beet Beethoven wrote Brentano brother canon chorus composer composer's composition concert Conversation Book copy court Diabelli doubt ducats evidence fact Fidelio florins friends Galitzin gave Gerhard von Breuning Gesellschaft der Musikfreunde give Gneixendorf Grillparzer guardianship hand Haslinger Holz hoven Johann Johann van Beethoven Karl Karl's later letter Lichnowsky London Ludwig Ludwig van Beethoven Malfatti manuscript March Mass matter mind Moscheles mother movement nephew never Ninth Symphony Nottebohm offered once opera oratorio orchestra Otto Jahn overture performance Peters Philharmonic Society pianoforte present Prince published Quartet received remark reply request Ries Rochlitz Schindler says Schlesinger Schott and Sons Schuppanzigh score seems sent Simrock sketches Sonata songs soon Steiner Stephan von Breuning story tells Thayer theatre thought told took uncle Vienna Wawruch words write written
Side 209 - May he defend our laws, And ever give us cause, To sing with heart and voice, God save the King.
Side 15 - ... because as a consequence of a long vigil both had gone to sleep and the food which had been prepared had become unpalatable. In the living-room, behind a locked door, we heard the master singing parts of the fugue in the Credo — singing, howling, stamping. After we had been listening a long time to this almost, awful scene, and were about to go away, the door opened and Beethoven stood before us with distorted features, calculated to excite fear. He looked as if he had been in mortal combat...
Side 207 - It is most chromatic and there is a slow movement entitled " Praise for the recovery of an invalid." Beethoven intended to allude to himself I suppose for he was very ill during the early part of this year. He directed the performers, and took off his coat the room being warm and crowded. A staccato passage not being expressed to the satisfaction of his eye, for alas, he could not hear, he seized Holz's violin and played the passage a quarter of a tone too flat.
Side 126 - I want, the fundamental idea never deserts me, — it arise; before me, grows, — I see and hear the picture in all its extent and dimensions stand before my mind like a cast, and there remains for me nothing but the labor of writing it down, which is quickly accomplished when I have the time, for I sometimes take up other work, but never to the confusion of one with the other.
Side 208 - No one could be more agreeable than he was — plenty of jokes. He was in the highest of spirits. We all wrote to him by turns, but he can hear a little if you halloo quite close to his left ear. He was very severe in his observations about the Prince Regent never having noticed his present of the score of his "Battle Symphony.
Side 212 - MISSA composita, et Serenissimo ac Eminentissimo Domino Domino Rudolpho Joanni Caesareo Principi et Archiduci Austriae SRE tit.
Side 305 - Feuittant) not only tells us that he ended his life with that jest, but that he left a paper sealed up wherein were found three articles as his last will : 'I owe much, I have nothing, I give the rest to the poor.
Side 126 - Then, however, there begins in my head the development in every direction and, insomuch as I know exactly what I want, the fundamental idea never deserts me — it arises before me, grows — I see and hear the picture in all its extent and dimensions stand before my mind like a cast...
Side 37 - ... Beethoven's music by devising programmatic expositions of the symphonies. In the Seventh Symphony, the keen-eyed Doctor discerned the tone-picture of a political revolution. The "program" which he invented for it was found by Schindler, with several others, among Beethoven's papers. Here it is, in part : The sign of revolt is given; there is a rushing and running about of the multitude; an innocent man, or party, is surrounded, overpowered after a struggle and . . . haled before a legal tribunal....
Side 149 - When he reached the development of the fourth movement," wrote Schindler, "there began a struggle such as is seldom seen. The object was to find a proper manner of introducing Schiller's ode. One day entering the room he exclaimed, 'I have it! I have it!' With that he showed me the sketchbook bearing the words 'Let us sing the song of the immortal Schiller, Freude.