What Beethoven said in reply to this letter is not known, his answer not having been given to the world; it can be surmised, however, from the recital given to Brentano in a letter from Beethoven dated May 19. He had been troubled by "gout in the chest" for four months, he says, and able to do but little work; nevertheless the Mass would be in Frankfort by the end of the next month, that is, by the end of June, 1822. There was another reason for the delay. Cardinal Rudolph, strongly disposed in favor of his music at all times, did not want the Mass published so early and had returned to the composer the score and parts only three days before. Here we have a very significant statement. What may be called the official copy of the Mass in D was formally presented to Archduke Rudolph on March 19, 1823; here, ten months earlier, he speaks of a score and parts which the Archduke had returned to him three days before. The Mass, therefore, must have had what, for the time being (Beethoven never considered it finished so long as it was in his hands), was looked upon as a definitive shape at the time when Beethoven promised to send it to Brentano for Simrock. The Archduke returned it, as Beethoven says, so that the publication might not be hindered. How long it had been in the hands of the Archduke no one can tell. Now, said Beethoven to Brentano, the score will be copied again, carefully examined, which would take some time owing to his ill health, but it would be in Frankfort at the end of June "at the latest," by which time Simrock must be ready to make payment. He had received better offers from Vienna and elsewhere, but had rejected all of them because he had given his word to Simrock and would abide by the agreement even if he lost money, trusting to make his losses good by other sales to Simrock who, moreover, might be disposed to make a contract for the Complete Edition. Brentano communicated with Simrock at once and received a letter from the publisher on May 29 expressing regret that sickness had been partly responsible for the delay. He had been expecting the Mass every day for more than a year, during which time the money had lain with Heinrich Verhuven because he did not want Beethoven to wait a single day for it. Thus on May 19, Beethoven tells Brentano that he will keep the faith with Simrock even at a sacrifice. On March 1, however, he had written to Schlesinger in Berlin: In regard to my health, things are better. As to the Mass I beg of you to get everything, everything (Alles, alles, in Jahn's transcript) in readiness as other publishers have asked for it and many approaches have been made to me, especially from here, but I resolved long ago that THE MASS SOLD TO SCHLESINGER 55 it should not be published here, as the matter is a very important one for me. For the present I ask of you only that you signify to me whether you accept my last offer of the Mass together with the two songs; as regards the payment of the honorarium, it may wait for more than four weeks. I must insist upon an early answer, chiefly because two other publishers who want to have it in their catalogues have been waiting for a definite answer from me for a considerable time. Farewell, and write to me at once; it would grieve me very much if I could not give you just this particular work. Schlesinger, as we learn from a letter dated July 2, 1822, had received letters from Beethoven under date of April 9, May 29 and June (he mistakenly says May 1). He answers the three at once, excusing his delay on the ground that he had attended the fair in Leipsic, where he fell ill, and had remained under the weather for several weeks after his return to Berlin. Meanwhile business had accumulated. He accepts Beethoven's terms for the mass and the two songs: Everything is in order about the Mass; pray send it and the two songs as soon as possible and draw on me at fourteen days' sight for 650 R. T. I will honor the draft at once and pay it. I have no opportunity to make payment to you through Vienna. Although several music dealers there are extensively in my debt I can not count on prompt payment from any of them. These gentlemen have two very ugly traits: 1), they do not respect property rights and 2), it is with difficulty that they are brought to pay their accounts. The book dealers are much sounder. By a coincidence Schlesinger's son, who had established himself in business in Paris, wrote to Beethoven on the same day and asked him if a third movement of the Pianoforte Sonata in C minor (Op. 111), which he was publishing, had not been forgotten at the copyists. He, like his father a little later, evidently suspected that they had not received as much music, measured in detached movements, as they had paid for; they missed a rondo finale! The incident may have amused, or (which is more likely) even angered Beethoven; but it can scarcely account for the fact that Beethoven resolved about this time to have nothing more to do with Schlesinger père. On July 26 he writes to Peters of Leipsic, with whom he has now entered into negotiations and to whom he has offered the Mass, "In no event will Schlesinger ever get anything more from me; he has played me a Jewish trick, but aside from that he is not among those who might have received the Mass." When Beethoven was conducting the negotiations with Schott and Sons in Mayence which resulted in the firm's getting the work, he recurred to the Schlesingers in a letter of January 22, 1824, and said: "Neither is Schlesinger to be trusted, for he takes where he can. Both père et fils bombarded me for the mass, but I did not deign to answer either of them, since after thinking them over I had cast them out long before." Beethoven's threats were frequently mere brutum fulmen; the Schlesingers, père et fils, remained his friends to the end and got two of the last Quartets. Both Simrock and Schlesinger are now waiting for Beethoven to send them the Mass and the fee is waiting for the composer at Frankfort. Meanwhile negotiations have been taken up with a newcomer in the field, who, however, is but trying to renew an association which had begun more than 29 years earlier. Before entering upon this phase of the history of the Mass it seems well to dispose finally of the Simrock incident. On August 22, 1822, Simrock wrote to Beethoven again. Beethoven's answer followed on September 13 and, as it contains more than a mere implication why he refused to abide by his contract (a point that has been a matter more or less of speculation from the time when the negotiations ceased till now), it is given in full here: My dear and valued Simrock: 1 Baden, September 13, 1822. You will receive this letter from Baden, where I am taking the baths, as my illness which has lasted a year and a half is not yet ended. Much as I should like to write to you about many things I must yet be brief and only reply to your last of August 22nd. As regards the Mass you know that at an earlier date I wrote you that a larger honorarium had been offered me. I would not be so sordid as to haggle with you for a hundred or few more florins; but my poor health and many other unpleasant circumstances compel me to insist upon it. The minimum that at least four publishers have offered me for the mass is 1000 florins Convention Coin at the rate of twenty, or counting the florin at 3 Austrian florins C. C. Much as I shall regret if we must part just because of this work, I know that your generosity (Biederherzigkeit) will not allow me to lose money on this work, which is perhaps the greatest that I have composed. You know that I am not boastful and that I do not like to show the letters of others or even quote from them; if it were not so I might submit proofs from far and near. But I very much wish to have the matter about the Mass settled as soon as possible, for I have had to endure plots of all sorts on account of it. It would be agreeable if you would let me know as soon as possible if you will pay me this honorarium. If you will, you need only deposit the difference with Brentano, whereupon I will at once send you a well corrected score of the Mass which will "This has been made possible for the editor by the courtesy of the present representatives of the venerable house in Bonn, viz.: N. Simrock G. m. b. H. in Berlin, who in 1909 issued a handsome book containing all the letters which passed between N. Simrock and Beethoven in a period beginning in 1794 and ending in 1823. Nicolaus Simrock, the reader may be reminded, was a friend of Beethoven in his childhood and a colleague in the orchestra at Bonn. AN APPEAL TO SIMROCK'S GENEROSITY 57 suffice you for the engraving. I hope my dear Simrock, whom I consider the richest of all these publishers, will not permit his old friend to go elsewhere for the sake of a few hundred florins. Concerning all other matters I will write you soon; I shall remain here till the beginning of October. I shall receive all letters which you may write, safely as I did your last, only I beg you to write soon. Farewell, greet the family cordially for me; as soon as I can I will write to them myself. Cordially your old friend, Beethoven. This letter can scarcely be called ingenuous by the most zealous of Beethoven's defenders. Aside from the fact that he had closed the contract, had received an advance on the sum deposited and told Brentano that he would keep his promise even at a sacrifice to himself, the 1000 florins which he now asks Simrock to pay was not the minimum sum which other publishers had offered but the maximum sum which he had asked and all of them had agreed to pay—which, indeed, B. Schott and Sons did pay a year and a half later. Under the circumstances it is scarcely to be wondered at if the appeal to Simrock's generosity fell on stony soil; but we do not know that it did. The letter was evidently answered by Simrock, who, despairing of ever getting the Mass, may have suggested that he would accept other works in lieu of it, for on March 10, 1823, Beethoven writes again saying (as he had said to Peters in November, 1822) that he should surely receive a mass, for he had written two and was only undecided which one to send. He asked Simrock to be patient till Easter, when he would send one of them to Brentano. He intended also to write a mass for the Emperor. As to other works, he offered the overture to "The Consecration of the House," the music to "The Ruins of Athens," the overture to "King Stephen," some songs and "Kleinigkeiten" for the pianoforte. Only for the new overture did he fix a price (50 ducats), but he added: "You will surely receive one of these two grand masses which are already composed; only be patient till after Easter, by which time I shall have decided which to send." This is the last letter between Beethoven and Simrock which has been found. It leaves the composer promising a mass instead of delivering the Mass, and that promise unfulfilled; of a necessity, for the work, though described as "already composed," was never written. In 1814 C. F. Peters had purchased the Bureau de Musique founded in 1798 by Hoffmeister and Kühnel, publishers of a number of Beethoven's compositions, including the First Symphony, between 1800 and 1805. On May 18, 1822, Peters addressed a letter to Beethoven in which he said that he had long wished to publish some of his compositions but had refrained from applying to him because he did not wish to offend the Viennese publishers; seeing now, however, that he was going outside with his compositions and giving them "even to the Jew Schlesinger," he would no longer give heed to such considerations. He had spoken to Steiner on the subject at the last fair, who had offered no objections, had, indeed, said that he would be glad if he (Peters) got the works instead of Schlesinger, and had offered his services as mediary between him and Beethoven, and asked for a list of compositions which he wanted. Thereupon he had given Steiner such a list: symphonies, pianoforte quartets and trios, pianoforte solos "among which there might be small pieces," songs, etc.-anything, in short, which Beethoven should send him would be welcome, for he wanted honor, not profit, from the association. Beethoven replied on June 5: Although I met Steiner several days ago and asked him jocularly what he had brought for me from Leipsic, he did not mention your commission, even in a syllable, nor you, but earnestly pleaded with me to assure him that I would give him and him alone all my present and future works and this contract-wise; I declined. This trait suffices to show you why I often prefer foreign publishers to local; I love straightforwardness and uprightness and am of the opinion that the artist ought not to be belittled, for alas! glittering as is the external aspect of fame, he is not permitted to be Jupiter's guest on Olympus every day; too often and too repulsively the vulgar many drag him down from the pure ethereal heights. He now opened his budget of wares: the largest work was a Mass-many had striven for it, "100 weighty Louis d'ors" had been offered for it, but he had demanded at least 1,000 florins Convention Coin, for which sum he would also prepare the pianoforte score; variations on a waltz ("there are many") for pianoforte-30 ducats in gold; a comic air with orchestra on Goethe's "Mit Mädeln sich vertragen," and another air of the same genre, 16 ducats each;1 several rather extended songs with pianoforte accompaniment, among them a little Italian cantata with recitative,2 12 ducats each; there were also recitatives to some of the German songs; 8 ducats each for songs; an elegy for four voices and string quartet accompaniment, 24 ducats; a chorus of Dervishes with full orchestra, 20 ducats; a march for orchestra written for the tragedy "Tarpeia," with arrangement for pianoforte, 12 Youthful works. "Probably "Primo amore," though it has orchestral accompaniment. |