The Lobkowitz Palais in Vienna in Beethoven's Time

 

On two of three traditionalists of "musical" romanticism, namely on Robert Schumann and Felix Mendelssohn, Beethoven's Fourth Symphony had a very positive impact: Schumann once described it as a "slender Greek maiden between two Nordic giants" (the Third and Fifth Symphonies; Source:  Thayer-Deiters-Riemann, Vol. 3, p. 15), and, according to TDR, Felix Mendelssohn valued it so highly that he chose it as one of the works to be performed on the occasion of his first evening as conductor and director of the Leipzig Gewandhaus Orchestra.  On the third traditionalist, on Carl Maria von Weber, however, it had quite a different impact:   In an article of his that was published on December 27, 1809, in the Stuttgart "Morgenblatt für gebildete Stände", an article that was extracted from his novel Künstlerleben (that would remain a fragment); in it, as "TDR" reports, he even referred to "desparate cries of fear" by the contrabass, on account of increasing technical difficulties in this work  (Source: TDR Vol. 3, p. 15). 

In order for us to gain a somewhat lively impression of the variety of contemporary opinions and of other details of the creation of this symphony, let us embark on a new journey of discovery into its creation.  

CREATION HISTORY

To what time do its first traces go back?  Lewis Lockwood (p. 217) reports that two sketches for the finale of Op. 60 can be found on sketches that belong to the "Leonore" sketchbook from the year 1804.  

However, as Lockwood reports, since one of the sketchbooks from this time has been lost, we are not well informed with respect to the development of this symphony.  He thinks that in these years, 1804, 1805 and into the spring of 1806, Beethoven first concentrated on his composition and first revision of his only opera Fidelio (Leonore) and that only after that was he able to concentrate on more intensive work on other compositions, among them Op. 60. 

These indications of first traces of this work and of the period during which he set any work on it aside give us strong clues with respect to Beethoven's general life circumstances during these years that were filled with his opera work, but also with his growing friendship with Josephine von Brunsvik.  We already discussed  these circumstances, namely in our online biography, in our creation history of Fidelio, and in our overall discussion of Beethoven's relationship to women, in our section on Nietzsche and Beethoven.   

TDR (Vol. 3, p. 9-10) and Thayer-Forbes (Vol. 1, p. 411) also discuss Beethoven's setting aside of his work on this symphony.  

Assumptions with respect to the precise moment of Beethoven's taking up work on it, again, circle around the discussion of his whereabouts during the summer season of 1806, which we already entered into at length, in our creation history of Op. 59.  This discussion led to the result that there was no other evidence for Beethoven's whereabouts during this summer than his late summer and fall stay at Grätz, with Prince Lichnowsky.  In his table form presentation of Beethoven life facts, Klaus Kropfinger (p. 31) also only mentions this stay. 

Beethoven's letter of September 3, 1806, to Breitkopf & Härtel not only serves as "evidence" for the fact that, at least from this day on, he stayed at Grätz, but in it, he also refers to this symphony, in his own handwriting:  

   "Beethoven an Breitkopf & Härtel in Leipzig

                                                                Grätz am 3ten HeuMonath.[= September] 1806

                                                     P.S.

    Etwas viel zu thun und die kleine Reise hieher konnte ich ihren Brief[1] nicht gleich beantworten -- obschon ich auf der Stelle entschloßen war, ihre Anerbietungen einzugehen, indem selbst meine Gemächlichkeit bey einem solchen Vorschlage gewint, und manche unvermeidliche Unordnung hinwegfällt -- ich verpflichte mich gern in Deutschland niemand anderm meine Werke als ihnen zu geben, auch selbst auswärts nicht anders <in> als in diesen hier jezt ihnen angezeigten Fällen: nemlich indem mir vortheilhafte Anerbietungen von auswärts von verlegern gemacht werden, <die> werde ich es ihnen zuwissen machen, und sie sind anders <gesonnen> gestimt dafür, so werde ich gleich ausmachen, daß sie das selbe werk in Deutschland für ein geringeres honorar von mir ebenfalls erhalten können -- der zweite Fall ist: falls ich von Deutschland auswandere, welches wohl geschehen kann, daß ich meine Werke als denn sey es in paris oder london Fr[e]y verkaufen kann, doch sie ebenfalls wie oben auch wieder, wenn sie Lust dazu haben, daran Theil nehmen können --

    sind ihnen diese Bedingungen recht, so schreiben sie mir -- ich glaube, daß es so ganz zweckmäßig für sie und mich wäre -- sobald ich ihre Meynung hierüber weiß -- können sie also gleich von mir 3 Violin quartetten[2] ein neues Klawierkonzert[3], eine neue sinfonie[4], <ein>die Partitur meiner oper[5], und mein oratorium[6] haben -- 

    . . .

    mit wahrer Hochachtung ihr

                                                                                                       Ludwig van Beethowen

"Beethoven to Breitkopf & Härtel in Leipzig

                                                                Grätz on the 3rd Hay Month[= September] 1806

                                                     P.S.

    A great deal to do and the little journey here did not allow me to answer your letter[1] right away--although I was resolved, immediately, to consider your suggestions, since also my comfort gains with these amenities, and since many an unavoidable disorder would fall away--gladly, I agree to give my works to no-one in Germany but you, even outside of Germany, with the exception of the instances indicated to you, now: namely, when advantageous offers are made to me by foreign publishers, I will advise you, and if you are not inclined, otherwise, I will agree to it, right away, that you can also receive that work from me for Germany, for a lower fee, as well--the second instance is if I should decide to leave Germany, which may well happen, so that, in this event, I shall be able to sell my works freely in Paris or London, however, also in this case, you will, if you are so inclined, have the opportunity of participating--  

   if you can agree to these conditions, write to me--I believe that this is quite practical for you and me--as soon as I will know your opinion with respect to this--you can receive from me, right away, 3 string quartets[2] a new piano concerto[3], a new symphony[4], <a> the score to my opera[5] and my oratorio[6]-- 

    . . .

    with true esteem your

                                                                                                       Ludwig van Beethowen

   Nb. My present stay is here in Silesia, as long as fall lasts--with Prince Lichnowsky--who sends you his greetings--my adress is to L. v. Beehowen in Troppau --

To H. Breitkopf and Härtel in Leipzig"

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 1, Letter No. 256, p. 288-289; Original:  Bonn, Beethoven-Haus; to [1]: probably refers to Letter No. 255 of July 11,1806, that, according to the GA, has not been preserved; to [2]: refers to Op. 59; to [3]: refers to Op. 58; to [4]: refers to Op. 60; to [5]: refers to Op. 72; to [6]: refers to Op. 85; details taken from p.  289].

As already TDR (Vol. 3, p. 9-10) has argued, Beethoven's offer of this work allows us at least to assume that he had taken up work on them again.  With respect to a possible reason for this, Barry Cooper writes:  

 

Grätz near Troppau

 

"While at work on the second quartet, in late summer, Beethoven travelled with Prince Lichnowsky to stay at his castle at Grätz in Silesia, near the town of Troppau (now Opava, near the Czech-Polish border), some 140 miles north-east of Vienna.  This was only about thirty miles from the castle of Count Franz von Oppersdorff, by Oberglogau (Glogowek), and Lichnowsky and Beethoven took the opportunity to visit the count.  It may have been on this occasion that Oppersdorff commissioned the Fourth Symphony from Beethoven.  " (Cooper: 158-159). 

 

Oberglogau 1786

 

With respect to Count Oppersdorff, TDR (Vol. 3, p. 10-11) and Thayer-Forbes (Vol. 1, p. 4**) report that he held a small orchestra and that, due to this, he only hired servants who could also play a musical instrument.  His contact with Prince Lichnowsky is explained by the Count's having had close ties to the Austrian nobility either by being related to or befriended with them.   As TDR reports, during Beethoven's and Lichnowsky's visit, the Count's orchestra is supposed to have performed for them his Second Symphony.  In this, TDR relies on a Prussian government official by the name of Albrecht whose father was born in Oberglogau and who, having served Count Oppersdorff as legal counsel, was also a member of his orchestra.  At the performance of the Second Symphony, he reportedly made Beethoven's acquaintance.  

As Barry Cooper reports, the Fourth Symphony was completed rather quickly. 

From all of this, we can at least conclude that Oppersdorff commissioned from Beethoven "a" symphony.  As Thayer-Forbes (p. 410) reports, sketches "prove" that Beethoven's work on the Fifth Symphony, Op. 67, had already been begun but that they were also set aside in favor of his work on the Fourth Symphony.  Beethoven's inscription on the manuscript was: "Sinfonia 4ta, 1806 L.v. Bthvn" (TF: 410).  Thayer-Forbes (p. 411) also lists this work as having been completed in 1806.  

While we can not determine the precise completion date of this work, Beethoven's November 18, 1806, letter to Breitkopf & Härtel also contains a hint with respect to the further fate of this symphony:  

"Beethoven an Breitkopf & Härtel in Leipzig

                                                                                             [Wien, 18. November 1806]

                                                                 P.S.

     Theils meine Zerstreuungen in schlesien,[1] Theils die Begebenheiten ihres Landes[2] waren Schuld, daß ich ihnen noch nicht auf ihren lezten Brief[3] antwortete -- ist es daß die Umstände sie verhindern etwas -- mit mir einzugehen, so sind sie zu nichts gezwungen -- nur bitte ich sie mir gleich mit der nächsten Post <mit der> zu antworten, damit falls sie sich nicht mit mir einlassen wollen -- ich meine Werke nicht brauche liegen zu laßen[4] -- in Rücksicht eines Kontraktes auf 3 Jahre wollte ich diesen wohl gleich mit ihnen eingehen, wenn sie sich gefallen laßen wollten, daß ich mehrere Werke nach England oder Schottland oder Frankreich verkaufte, Es versteht sich, daß die Werke, erhalten, oder die sie von mir erhalten, oder die ich ihnen Verkaufte, auch bloß ihnen allein gehörte[n] nemlich: durchaus ganz ihr Eigenthum und nichts mit denen von Frankreich oder England oder Schottland gemein hätten - nur müste mir die Freyheit bleiben auch andere werke an eben genannte länder zu veraüßern -- Doch in Deutschland wären sie der Eigenthümer  meiner Werke und kein einziger anderer Verleger -- gerne würde ich dem Verkauf meiner Werke in jene Länder versagen, allein ich habe z.B. von Schottland aus so wichtige Anträge, und ein solches honorar, was ich von ihnen doch nie fodern könnte,[5] dabey ist <das Ausland> eine Verbindung mit dem Ausland für den Ruhm eines Künstlers, und im Falle er eine Reise macht immer wichtig -- da ich z.B. bey den Anträgen von Schottland noch die Freyheit habe dieselben werke in Deutschland und Frankreich zu Verkaufen, so könnten sie z.B. diese für Deutschland und Frankreich gern von mir erhalten -- so daß ihnen für ihren Absaz alsdenn nur London und vieleicht Edinburg (in Schottland) abginge-- auf diese Art <glaube ich, es> Wollte ich recht gern den Kontrakt auf 3 Jahre mit ihnen eingehen, sie würden noch immer genug von mir bekommen -- da die Bestellungen jener Länder doch manchmal mehr in einem indiwiduellen Geschmack gefodert werden, welches wir in Deutschland nicht nöthig haben -- übrigens aber glaube ich, daß das Kontrakt schließen gar nicht nöthig wäre, und daß sie sich ganz auf mein Ehrenwort, was ich ihnen hiermit gebe, verlassen sollten, daß ich ihnen in Deutschland vor allen den Vorzug gebe, versteht sich, daß an diesen Werken weder Frankreich noch Holland Theil nehmen können -- nur sie der alleinige Eigenthümer sind -- halten sie es nun wi[e] sie wollen hierin --

    mir macht das Kontrakt schließen eine Menge Umstände, das honorar <were> würde ich ihnen für jedes Werk anzeigen -- und so billig als möglich -- für jetzt trage ich ihnen 3 Quartetten[6] und ein Klawierkonzert[7] an -- die versprochene Sinfonie[8] kann ich ihnen noch nicht geben, weil ein vornehmer Herr[9] sie von mir genommen, wo ich aber die Freyheit habe, sie in einem halben Jahr heraus zu geben -- <für das Konzert verlange ich von ihnen 300 Gldn in> Ich verlange von ihnen 600 fl. für drey  Quarttetten, und 300 fl. für das Konzert Beyde Summen in Konwenzions-Gulden nach dem zwanzig<er> Gulden Fuß -- das liebste wäre, wenn sie Awiso gäben, daß das Geld bey ihnen oder bey einem sonst bekannten Wechsler erliege, worauf ich alsdann einen Wechsel von hier nach Leipzig ausstellen würde--Sollte ihnen <diese> dieser Weg nicht recht seyn, so kann ich auch geschehen laßen, daß sie mir für die Summe im 20 fl. Gulden[-Fuß] einen nach dem Kurse richtig berechneten Wechsel zuschicken

    vieleicht ist es möglich, daß ich die Sinfonie vileicht darf bälder stechen laßen als <sie glauben> ich hoffen durfte bisher, und dann können sie solche bald haben -- antworten sie mir nur bald -- damit ich nicht aufgehalten werde -- übrigens seyn sie überzeugt, daß ich immer ihre Handlung allen Andern gern vorziehe und ferner vorziehen werde --

mit Achtung ihr ergebenster Diener

                                                                                                                 LvBthwn

Vien am 18ten November 1806

An Breitkopf & Härtel in Leipzig."

"Beethoven to Breitkopf & Härtel in Leipzig

                                                                                             [Vienna, November 18, 1806]

                                                                 P.S.

     Partly my diversions in Silesia,[1] partly the events in your country[2] were to blame for my not replying to your last letter[3]--in the event that circumstances prevent you from entering into an agreement with me, you are not obligated to anything--I only ask you to reply to me with the next post, so that, if you do not want to enter into an agreement with me--my works will not lie fallow[4]--with respect to a three-year-contract, I would wish to enter into it with you, right away, if you were to agree that I could sell various works to England or France at the same time.  Of course, the works that you would receive from me or which I would sell to you, would only belong to you, in that they would be completely owned by you and would have nothing to do with them of France or England or Scotland--only, I would have to retain the liberty to also sell other works to the named countries--however, in Germany, you would be the exclusive owner of my works and no other publisher--I would be glad to forego selling my works to those countries, alone, for example, from Scotland, I have received such important proposals and such a fee, that I could, after all, never ask of you[5].  Moreover, a connection with foreign countries  is always important for the fame of an artist, particularly in the event of his travels to these parts--since I, for example, in the case of the works for Scotland, still have the liberty of selling them in France and Germany, you could gladly receive them from me--so that, with respect to their sale, you would only miss the London and Edinburgh sales--in this manner, I believe, I would gladly enter into a three-year-contract with you, you would still receive enough from me--since the commissions from these countries are sometimes held in their particular taste(s), which would not be necessary in Germany--otherwise, I believe that the closing of a contract would not even be necessary and that you could entirely rely on my word of honor that I give you, herewith, namely that I give you preference above all in Germany; it is understood that neither France nor Holland could take part in these works--only you would be their exclusive owner--you can make arrangements as you please in this--  

    Closing contracts causes me a great deal of inconvenience; I would indicate the fee for every work to you--as low as possible--for now, I am offering you 3 quartets(6) and a Piano Concerto(7)--the promised symphony(8), I can not give to you, yet, since a gentleman of quality[9] has taken it from me, whereby I, however, have the liberty of publishing it in half a year--<for the Concerto, I ask for 300 florins from you in> I ask for 600 florins for the three quartets, and 300 florins for the concerto both sums in convention florins at 20 foot--I would prefer if you would give an "aviso" and would leave the money with you or with an exchange agent who is known to you, in exchange for which I could issue a draft to Leipzig--if you should not be able to agree to this, I could also arrange that your send me a draft for the sum at 20 foot according to the exchange rate.  

    Perhaps it is possible that I could have the symphony etched sooner than <you believe> I could hope hitherto, and then you could have the same, soon--only reply to me, soon--so that I am not held up--otherwise, be convinced that I always prefer your company over all others and always will do so-- 

with esteem your most devoted servant

                                                                                                                 LvBthwn

Vienna on the 18th of November 1806

To Breitkopf & Härtel in Leipzig."

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 1, Letter No. 260, p. 292 - 294; Original: Wiesbaden, Breitkopf & Härtel; to [1]: with respect to this, the GA points out that from August to the end of October, 1806, Beethoven stayed at Grätz near Troppau as Prince Lichnowsky's guest; to [2]: refers to the fact that, on October 14, 1806, the Prussian-Saxon army was decisively defeated in the two battles near Jena and Auerstedt, by Napoleon; to [3]: refers to Letter No. 257, which has not been preserved; to [4]: refers to the fact that Beethoven had offered this publisher Op. 58, Op. 59, Op. 60, Op. 72, and Op. 85, see Letter No. 256; to [5]: refers to Letter No. 259; to [6]: refers to Op. 59; to [7]: refers to Op. 58; to [8]: refers to Op. 60; to [9]: according to the GA, this might possibly refer to Prince Franz Joseph Maximilian Lobkowitz, in whose Vienna Palais the work was first performed privately in March, 1807; details taken from p. 294]. 

With respect to the identify of the "gentleman of quality" who had taken the "symphony" (Op. 60) from Beethoven, two possibilities offer themselves.  According to the GA, it might have been Prince Franz Joseph Maximilian Lobkowitz.  Contrary to this, traditional Beethoven literature and, at least in his Beethoven book that was published in 2000, also Barry Cooper (p. 159) still maintains that:  

"Oppersdorff paid Beethoven 500 florins for six month's exclusive use, and may have received a score as early as November, although the fee was not paid until the following February (Cooper: 159).

An earlier, not uninteresting discussion in TDR of Beethoven's letters to Count Oppersdorff (Vol. 3, p. 11-12) that Beethoven's receipt to Count Oppersdorff of 500 florins that was appeared to be dated February 3, 1807 (which also Thayer-Forbes, p. 432 mentions), was an attachment to Beethoven's letter to Oppersdorff in which he addressed the latter as follows: 

"Beethoven an Graf Franz von Oppersdorff[1] in Troppau

                                                                                    [Wien, März 1808][2]

daß Sie mir mein Geliebter entflohen sind, ohne mir auch nur etwas von ihrer Abreise zu wissen zu machen, hat mir wircklich wehe gethan -- Es hat sie vieleicht etwas von mir verdroßen, doch gewiß nicht mit meinem Willen -- heute habe ich ein wenig Zeit um ihnen mehr schreiben zu können, ich will ihnen daher nur noch melden, daß ihre Sinfonie[3] schon lange bereit liegt, ich sie ihnen nun aber mit nächster Post schicke -- . . . " 

"Beethoven to Count Franz von Oppersdorff[1] in Troppau

                                                                                    [Vienna, March 1808][2]

that you, my dear, have escaped me, without letting me know anything of your departure, has really hurt me--Perhaps, you were displeased with me, but certainly not with my wanting it to be so--today, I have a little bit of time to write you more, therefore, I want to let you know that your symphony[3] has been lying ready here, for a long time, and I will send it to you wit the next post-- . . . "                                                                                

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe Vol. 2, Letter No. 325, p. 12-13; Original:  In private hands; to [1]: refers to Count Oppersdorff; to [2]: according to the GA, this refers to the most probable information with respect to the dating of this letter, namely, Beethoven's mentioning in it of his finger injury, which happened in March 1808; according to the GA, in his letter of March 1808, Stephan Breuning wrote about it to his brother-in-law, Franz Gerhard Wegeler; details taken from p. 13; this letter will be featured in full here, in its appropriate context].  

Here the full German text from "TDR":

»Daß Sie mir, mein Geliebter, entflohen sind, ohne mir nur etwas von ihrer Abreise zu wissen zu machen, hat mir orntlich wehe gethan - Es hat sie vielleicht etwas von mir verdrossen, doch gewiß nicht mit meinem Willen - Heute habe ich dazu wenig Zeit um ihnen mehr schreiben zu können, ich will ihnen daher nur noch melden, daß ihre Sinfonie schon lange bereit liegt, ich sie ihnen nun aber mit nächster Post schicke - 50 fl. können sie mir abhalten, da die Copiaturen welche ich für sie machen lassen, billigstens 50 fl. ausmacht - im Fall sie aber die Sinfonie nicht wollen, machen sie mir's noch vor künftigen Posttag zu wissen - im Fall sie selbe aber nehmen, dann erfreuen sie mich sobald als möglich mit den mir noch zukommenden 300 fl. - Das letzte Stück der Sinfonie ist mit 3 Posaunen und flautino - zwar nicht 3 Pauken, wird aber mehr Lärm als 6 Pauken und zwar bessern Lärm machen - an meinem armen unverschuldeten Finger curire ich noch, und habe seit 14 Tägen deswegen gar nicht ausgehen können - leben sie wohl - lassen sie mich liebster Graf bald etwas von sich hören - mir geht es schlecht -

A Monsieur
le comte d'Oppersdorf
a
Troppau
(en Silesie).

in Eile
Ihr
ergebenster
Beethoven.

(besonderes Blatt)

Quittung über 500 fl welche ich vom Grafen Oppersdorf. empfangen habe, für eine Sinfonie, welche ich für denselben geschrieben habe -
Laut meiner
eigenen Handschrift
Ludwig van Beethoven.«

1807 am 3ten Februar<< [Source: TDR Bd. 3, S. 12-13; the text below Beethoven's closing greeting refers to a separate sheet on which Beethoven is reported to have written:  "Receipt for 500 fl which I have received from Count Oppersdorff for my symphony, which I have written for him.  Written by myself, Ludwig van Beethoven 1807 the 3rd of February").

TDR has doubts with respect to the date of February 3, 1807, and, with respect to the main part of the letter, including Beethoven's reference to his finger injury, refers to the possibility that this letter might rather have been written in the spring of 1808.  Interesting enough is that the GA feature of this letter [GA letter no. 325] does not present the "separate sheet" and its content.

The time difference between Beethoven's hasty departure from Troppau, after his falling-out with Prince Lichnowsky--which led him back to Vienna at the end of October, 1806--and his letter of November 18, 1806 to Breitkopf & Härtel leaves at least some room for the possibility that Beethoven might have given the manuscript of Op. 60, which he would then have taken along, to Prince Lobkowitz.  As indication of his presence in Vienna after October 31, 1806, might also serve his letter to George Thomson in Edinburgh that the GA places between November 1 and November 9, 1806 (GA Bd. 1, Letter No. 259, p.290-292) , which begins with "Vienne le 1. - 9bre".

As lay people, we can not do more than ponder these possibilities. 

Before we take a look at the first performances of the Fourth Symphony, let us provide you with a chronological presentation of Beethoven's unsuccessful publication attempts as reflected in his correspondence with Breitkopf & Härtel.

BEETHOVEN'S UNSUCCESSFUL NEGOTATIONS
WITH BREITKOPF & HÄRTEL

Although we already took a brief look at Beethoven's fall 1806 correspondence with  Breitkopf & Härtel, here, we should consider it, anew.  As we already know, already on September 3, 1806, Beethoven offered his Fourth Symphony, that was at least on its way to being completed, to this Leipzig publisher:  

"Beethoven an Breitkopf & Härtel in Leipzig

                                                                Grätz am 3ten HeuMonath.[= September] 1806

                                                     P.S.

    Etwas viel zu thun und die kleine Reise hieher konnte ich ihren Brief[1] nicht gleich beantworten -- obschon ich auf der Stelle entschloßen war, ihre Anerbietungen einzugehen, indem selbst meine Gemächlichkeit bey einem solchen Vorschlage gewint, und manche unvermeidliche Unordnung hinwegfällt -- ich verpflichte mich gern in Deutschland niemand anderm meine Werke als ihnen zu geben, auch selbst auswärts nicht anders <in> als in diesen hier jezt ihnen angezeigten Fällen: nemlich indem mir vortheilhafte Anerbietungen von auswärts vom verlegern gemacht werden, <die> werde ich es ihnen zuwissen machen, und sie sind anders <gesonnen> gestimt dafür, so werde ich gleich ausmachen, daß sie das selbe werk in Deutschland für ein geringeres honorar von mir ebenfalls erhalten können -- der zweite Fall ist: falls ich von Deutschland auswandere, welches wohl geschehen kann, daß ich meine Werke als denn sey es in paris oder london Fr[e]y verkaufen kann, doch sie ebenfalls wie oben auch wieder, wenn sie Lust dazu haben, daran Theil nehmen können --

    sind ihnen diese Bedingungen recht, so schreiben sir mir -- ich glaube, daß es so ganz zweckmäßig für sie und mich wäre -- sobald ich ihre Meynung hierüber weiß -- können sie also gleich von mir 3 Violin quartetten[2] ein neues Klawierkonzert[3], eine neue sinfonie[4], <ein>die Partitur meiner oper[5], und mein oratorium[6] haben -- 

    . . .

    mit wahrer Hochachtung ihr

                                                                                                       Ludwig van Beethowen

   Nb. Mein jeziger Aufenthalt <in> ist hier in schlesien, so lange der Herbst dauert -- bey Fürst Lichnoswky -- der sie grüßen läßt -- meine adresse ist an L. v. Beehowen in Troppau --

An H. Breitkopf und Härtel in Leipzig"

"Beethoven to Breitkopf & Härtel in Leipzig

                                                                Grätz on the 3rd Hay Month[= September] 1806

                                                     P.S.

    A great deal to do and the little journey here did not allow me to answer your letter[1] right away--although I was resolved, immediately, to consider your suggestions, since also my comfort gains with these amenities, and since many an unavoidable disorder would fall away--gladly, I agree to give my works to no-one in Germany but you, even outside of Germany, with the exception of the instances indicated to you, now: namely, when advantageous offers are made to me by foreign publishers, I will advise you, and if you are not inclined, otherwise, I will agree to it, right away, that you can also receive that work from me for Germany, for a lower fee, as well--the second instance is if I should decide to leave Germany, which may well happen, so that, in this event, I shall be able to sell my works freely in Paris or London, however, also in this case, you will, if you are so inclined, have the opportunity of participating--  

    if you can agree to these conditions, write to me--I believe that this is quite practical for you and me--as soon as I will know your opinion with respect to this--you can receive from me, right away, 3 string quartets[2] a new piano concerto[3], a new symphony[4], <a> the score to my opera[5] and my oratorio[6]-- 

    . . .

    with true esteem your

                                                                                                       Ludwig van Beethowen

   Nb. My present stay is here in Silesia, as long as fall lasts--with Prince Lichnowsky--who sends you his greetings--my adress is to L. v. Beeyhowen in Troppau --

To H. Breitkopf and Härtel in Leipzig"

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 1, Letter No. 256, p. 288-289; Original:  Bonn, Beethoven-Haus; to [1]: probably refers to Letter No. 255 of July 11,1806, that, according to the GA, has not been preserved; to [2]: refers to Op. 59; to [3]: refers to Op. 58; to [4]: refers to Op. 60; to [5]: refers to Op. 72; to [6]: refers to Op. 85; details taken from p.  289].

The publisher did not take long to reply: 

"Breitkopf & Härtel an Beethoven

                                                                                            [Leipzig, 13. September 1806]

[Der Verlag bittet um Angabe des Honorars für die ihm angebotenen Werke op. 58, op. 59, op. 60, op. 72 und op. 85.  Unter der Voraussetzung, dass das Honorar annehmbar sei und die Verlagsrechte ohne Einschränkung an ihn abgetreten würden, wolle er mit Beethoven einen Kontrakt auf drei Jahre abschließen.]"

"Breitkopf & Härtel to Beethoven

                                                                                            [Leipzig, September 13, 1806]

[The publishers ask Beethoven to indicate his fees for the offered works, op. 58, op. 59, op. 60, op. 72 and op. 85.  Provided that the fees will be acceptable and that the exclusive publications rights would go to them, they would offer Beethoven a contract for three years.]"

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 1, Letter No. 257, p. 289; Original: not known, according to the GA, derived from Letters No. 256 and No. 260; details taken from p. 289].

As we already know, a "gentleman of quality" to whom Beethoven reportedly gave the symphony prevented him from having it ready for delivery to this publisher when he wrote his next letter to Leipzig on November 18, 1806:

"Beethoven an Breitkopf & Härtel in Leipzig

                                                                                             [Wien, 18. November 1806]

                                                                 P.S.

     Theils meine Zerstreuungen in schlesien,[1] Theils die Begebenheiten ihres Landes[2] waren Schuld, daß ich ihnen noch nicht auf ihren lezten Brief[3] antwortete -- ist es daß die Umstände sie verhindern etwas -- mit mir einzugehen, so sind sie zu nichts gezwungen -- nur bitte ich sie mir gleich mit der nächsten Post <mit der> zu antworten, damit falls sie sich nicht mit mir einlassen wollen -- ich meine Werke nicht brauche liegen zu laßen[4] -- in Rücksicht eines Kontraktes auf 3 Jahre wollte ich diesen wohl gleich mit ihnen eingehen, wenn sie sich gefallen laßen wollten, daß ich mehrere Werke nach England oder Schottland oder Frankreich verkaufte, Es versteht sich, daß die Werke, erhalten, oder die sie von mir erhalten, oder die ich ihnen Verkaufte, auch bloß ihnen allein gehörte[n] nemlich: durchaus ganz ihr Eigenthum und nichts mit denen von Frankreich oder England oder Schottland gemein hätten - nur müste mir die Freyheit bleiben auch andere werke an eben genannte länder zu veraüßern -- Doch in Deutschland wären sie der Eigenthümer  meiner Werke und kein einziger anderer Verleger -- gerne würde ich dem Verkauf meiner Werke in jene Länder versagen, allein ich habe z.B. von Schottland aus so wichtige Anträge, und ein solches honorar, was ich von ihnen doch nie fodern könnte,[5] dabey ist <das Ausland> eine Verbindung mit dem Ausland für den Ruhm eines Künstlers, und im Falle er eine Reise macht immer wichtig -- da ich z.B. bey den Anträgen von Schottland noch die Freyheit habe dieselben werke in Deutschland und Frankreich zu Verkaufen, so könnten sie z.B. diese für Deutschland und Frankreich gern von mir erhalten -- so daß ihnen für ihren Absaz alsdenn nur London und vieleicht Edinburg (in Schottland) abginge-- auf diese Art <glaube ich, es> Wollte ich recht gern den Kontrakt auf 3 Jahre mit ihnen eingehen, sie würden noch immer genug von mir bekommen -- da die Bestellungen jener Länder doch manchmal mehr in einem indiwiduellen Geschmack gefodert werden, welches wir in Deutschland nicht nöthig haben -- übrigens aber glaube ich, daß das Kontrakt schließen gar nicht nöthig wäre, und daß sie sich ganz auf mein Ehrenwort, was ich ihnen hiermit geben, verlassen sollten, daß ich ihnen in Deutschland vor allen den Vorzug gebe, versteht sich, daß an diesen Werken weger Frankreich noch Holland Theil nehmen können -- nur sie der alleinige Eigenthümer sind -- halten sie es nun wi[e] sie wollen hierin --

    mir macht das Kontrakt schließen eine Menge Umstände, das honorar <were> würde ich ihnen für jedes Werk anzeigen -- und so billig als möglich -- für jetzt trage ich ihnen 3 Quartetten[6] und ein Klawierkonzert[7] an -- die versprochene Sinfonie[8] kann ich ihnen noch nicht geben, weil ein vornehmer Herr[9] sie von mir genommen, wo ich aber die Freyheit habe, sie in einem halben Jahr heraus zu geben -- <für das Konzert verlange ich von ihnen 300 Gldn in> Ich verlange von ihnen 600 fl. für drey  Quarttetten, und 300 fl. für das Konzert Beyde Summen in Konwenzions-Gulden nach dem zwanzig<er> Gulden Fuß -- das liebste wäre, wenn sie Awiso gäben, daß das Geld bey ihnen oder bey einem sonst bekannten Wechsler erliege, worauf ich alsdann einen Wechsel von hier nach Leipzig ausstellen würde--Sollte ihnen <diese> dieser Weg nicht recht seyn, so kann ich auch geschehen laßen, daß sie mir für die Summe im 20 fl. Gulden[-Fuß] einen nach dem Kurse richtig berechneten Wechsel zuschicken

    vieleicht ist es möglich, daß ich die Sinfonie vileicht darf bälder stechen laßen als <sie glauben> ich hoffen durfte bisher, und dann können sie solche bald haben -- antworten sie mir nur bald -- damit ich nicht aufgehalten werde -- übrigens seyn sie überzeugt, daß ich immer ihre Handlung allen Andern gern vorziehe und ferner vorziehen werde --

mit Achtung ihr ergebenster Diener

                                                                                                                 LvBthwn

Vien am 18ten November 1806

An Breitkopf & Härtel in Leipzig."

"Beethoven to Breitkopf & Härtel in Leipzig

                                                                                             [Vienna, November 18, 1806]

                                                                 P.S.

     Partly my diversions in Silesia,[1] partly the events in your country[2] were to blame for my not replying to your last letter[3]--in the event that circumstances prevent you from entering into an agreement with me, you are not obligated to anything--I only ask you to reply to me with the next post, so that, if you do not want to enter into an agreement with me--my works will not lie fallow[4]--with respect to a three-year-contract, I would wish to enter into it with you, right away, if you were to agree that I could sell various works to England or France at the same time.  Of course, the works that you would receive from me or which I would sell to you, would only belong to you, in that they would be completely owned by you and would have nothing to do with them of France or England or Scotland--only, I would have to retain the liberty to also sell other works to the named countries--however, in Germany, you would be the exclusive owner of my works and no other publisher--I would be glad to forego selling my works to those countries, alone, for example, from Scotland, I have received such important proposals and such a fee, that I could, after all, never ask of you[5].  Moreover, a connection with foreign countries  is always important for the fame of an artist, particularly in the event of his travels to these parts--since I, for example, in the case of the works for Scotland, still have the liberty of selling them in France and Germany, you could gladly receive them from me--so that, with respect to their sale, you would only miss the London and Edinburgh sales--in this manner, I believe, I would gladly enter into a three-year-contract with you, you would still receive enough from me--since the commissions from these countries are sometimes held in their particular taste(s), which would not be necessary in Germany--otherwise, I believe that the closing of a contract would not even be necessary and that you could entirely rely on my word of honor that I give you, herewith, namely that I give you preference above all in Germany; it is understood that neither France nor Holland could take part in these works--only you would be their exclusive owner--you can make arrangements as you please in this--  

    Closing contracts causes me a great deal of inconvenience; I would indicate the fee for every work to you--as low as possible--for now, I am offering you 3 quartets(6) and a Piano Concerto(7)--the promised symphony(8), I can not give to you, yet, since a gentleman of quality[9] has taken it from me, whereby I, however, have the liberty of publishing it in half a year--<for the Concerto, I ask for 300 florins from you in> I ask for 600 florins for the three quartets, and 300 florins for the concerto both sums in convention florins at 20 foot--I would prefer if you would give an "aviso" and would leave the money with you or with an exchange agent who is known to you, in exchange for which I could issue a draft to Leipzig--if you should not be able to agree to this, I could also arrange that your send me a draft for the sum at 20 foot according to the exchange rate.  

    Perhaps it is possible that I could have the symphony etched sooner than <you believe> I could hope hitherto, and then you could have the same, soon--only reply to me, soon--so that I am not held up--otherwise, be convinced that I always prefer your company over all others and always will do so-- 

with esteem your most devoted servant

                                                                                                                 LvBthwn

Vienna on the 18th of November 1806

To Breitkopf & Härtel in Leipzig."

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 1, Letter No. 260, p. 292 - 294; Original: Wiesbaden, Breitkopf & Härtel; to [1]: with respect to this, the GA points out that from August to the end of October, 1806, Beethoven stayed at Grätz near Troppau as Prince Lichnowsky's guest; to [2]: refers to the fact that, on October 14, 1806, the Prussian-Saxon army was decisively defeated in the two battles near Jena and Auerstedt, by Napoleon; to [3]: refers to Letter No. 257, which has not been preserved; to [4]: refers to the fact that Beethoven had offered this publisher Op. 58, Op. 59, Op. 60, Op. 72, and Op. 85, see Letter No. 256; to [5]: refers to Letter No. 259; to [6]: refers to Op. 59; to [7]: refers to Op. 58; to [8]: refers to Op. 60; to [9]: according to the GA, this might possibly refer to Prince Franz Joseph Maximilian Lobkowitz, in whose Vienna Palais the work was first performed privately in March, 1807; details taken from p. 294]. 

However, with their letter of November 26, 1826, the publishers advised Beethoven that, on account of the recent war and the economic situation, they were not in a position to accept his offer: 

"Breitkopf & Härtel an Beethoven

                                                                                               [Leipzig, 26. November 1806]

[Der Verlag ist mit Beethovens Vorschlägen in Brief 260 nicht einverstanden und verzichtet unter Hinweis auf die kriegsbedingte schlechte Ertragslage auf den Ankauf der angebotenen Werke]"

"Breitkopf & Härtel to Beethoven

                                                                                               [Leipzig, November 26, 1806]

[The publishers could not agree to Beethoven's suggestions and, referring to the bad economic situation on account of the recent war, they had to decline his offer]"

[Source;  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 1, Letter No. 261, p. 294; Original:  not known; content derived from registration note on Letter No. 260 and from the fact that the negotiations were broken off; with respect to this, the GA also listed Muzio Clementi's Letter of February 22, 1807, to the publisher: 

"Beethoven ed io siam diventati buoni amici alla fine.  Abbiamo fatto un accordo, pel quale mi cede la proprieta per li Stati Britannici, in 3 quartetti, una Sifonia, un Overtura, un Concerto a Violino, ed un Concerto da Piano e Forte.  Ho fatto questo accordo con lui in consequenza della vostra lettera, data di 20 Gennajo, nella quali mi dite  n o n   p o t e r   a c c e t a r e ,  a causa della guerra, le sue proposizioni. L'ho pregato di trattar con voi per la Germania" [Unsere eigene Übersetzung:  "Beethoven and I have finally become good friends.  We have entered into an agreement, according to which he will give me the publication rights for Britain for three quartets, a symphony, an overture, a Concerto for Violin and a Concerto for the Pianoforte. I have entered into this agreement with him as a consequence of your letter of January 20th, in which you wrote that you, on account of the war, were not able to accept his offer.  I have asked him to negotiate with your, with respect to Germany; details taken from p. 294]. 

Here, it would, perhaps, be interesting to gain an overall impression of Beethoven's correspondence with Leipzig, but also at the war situation "on location"  [Jena and Auerstedt], by taking a look at records of Goethe's circumstances during this time at Jena and Weimar, but also by following further links on this topic:  

FIRST PERFORMANCES IN THE YEAR 1807

With respect to this, we can rely both on TDR and on Thayer-Forbes.  Let us first take a look at the report in the last edition of the standard biography:

"The manner in which Beethoven received support from the aristocracy is suggested in a report from Vienna, dated February 27 (1807) to the Allgemeine Musikalische Zeitung:  "Beethoven's big symphony in E-flat, which has been recently reviewed so scrupulously and impartially in these pages, will be performed along with the other two symphonies by this composer (in C and D) and also with a fourth still unknown symphony by him, in a very select circle that contributed a very considerable sum for the benefit of the composer" (Thayer-Forbes: 415).

Those of you who read some German might enjoy taking a look at the original text: 

"Beethovens grosse Sinfonie aus Es, die in Ihren Blättern vor kurzem mit so viel Unparteylichkeit und Anstand beurtheilt worden ist, wird, nebst den beyden andern Sinfonieen dieses Komponisten (aus C u. D.) nächstens, mit einer vierten, noch ganz unbekannten Sinfonie von ihm, in einer sehr gewählten Gesellschaft, welche zum Besten des Verfassers sehr ansehnliche Beyträge subscribirt hat, aufgeführt werden. . . " (AMZ No. 9, March 18, 1807, column 400, with the Vienna report dated February 27, 1807).

Thayer-Forbes then refers to the report on these concerts in the April edition of the  Journal des Luxus und der Mode:

"Beethoven gave two concerts at the house of Prince L., at which nothing but his own compositions were performed; namely his first four symphonies, an overture to the tragedy Coriolan, a pianoforte concerto and some airs from the opera Fidelio.  Richness of ideas, bold originality and fullness of power, which are the particular merits of Beethoven's muse were very much in evidence to everyone at the concerts; yet many found fault with a lack of noble simplicity and the all too fruitful accumulation of ideas which on account of their number were not always adequately worked out and blended, thereby creating the effect more often of rough diamonds" (Thayer-Forbes: 415-416).

With respect to this text, we can also offer you the German original: 

Both Thayer-Forbes (p. 415-416) and TDR (p. 8-9) ask the question whether "L" refers to Lobkowitz or Lichnowsky.  However, both editions express the opinion that the former would have been meant.  

 

The Lobkowitz Palais in Vienna during Beethoven's Time

 

This probably allows us to conclude that Op. 60 was first performed at the Palais Lobkowitz, in a private performance.  Also Kinderman (p. 120) and Cooper (p. 165) refer to the private concerts of February 1807, with Kinderman explicitly referring to the Lobkowitz Palais.  

The second performance of Op. 60 during this year--that is known to us--, according to the AMZ No. 10, in its Vienna report in column 268-287, saw Beethoven conduct the work, himself:  

"W i e n , d. 16ten Jan. . . .

    Die moderne Musik führt mich am natürlichsten zu der neuen  B e e t h o v e n s c h e n   Sinfonie aus B, welche im hiesigen Liebhaberkonzerte unter der Direktion des Komponisten selbst wiederholt wurde.  Sie gefiel im Theater nicht besonders, hier erhielt sie vielen, und, wie mich dünkt, verdienten Beyfall:  denn das erste Allegro ist sehr schön, feurig und harmonienreich gearbeitet, und auch Menuett und Trio haben einen eigenen, originellen Charakter.  Bey dem Adagio wäre es vielleicht zu wünschen, dass der Gesang nicht so sehr auf die einzelnen Instrumente vertheilt wäre, ein Gebrechen, das auch der sonst so reichen und feurigen  E b e r l schen Sinfonie aus D moll manchmal im Effekte schadet"( --

-- "Vienna, the 16th of Jan. . . .

   Modern music leads me most naturally to the new Beethovenian Symphony in B [major] which, in the local Liebhaberkonzerte, was repeated under the direction of the composer.  In the theatre, it did not please, very much, but here, it received much, and as I think, deserved applause:  since the first Allegro is very beautiful, fiery and full of harmony, and also the minuet and trio have their own, original character.  With respect to the Adagio one would, perhaps, wish that the singing would not be spread over the single instruments, a fault that is also characteristic of the otherwise rich and fiery Symphony in d minor by Eberl").

Kropfinger's table (p. 32) points out that this Liebhaberkonzert took place on December 27, 1807. 

However, what were the circumstances of Beethoven's actual publication of this Symphony?  

PUBLICATION AND DEDICATION OF THE FOURTH SYMPHONY

Beethoven's further attempts at publishing Op. 60 began in the spring of 1807.  With respect to this, Barry Cooper reports:  

"In early April 1807 the London-based composer, pianist, piano-maker and publisher Muzio Clementi arrived in Vienna on his way to Rome.  Beethoven was a great admirer of Clementi's piano sonatas, and his own early sonatas follow Clementi's more closely than any other composer's; but he had been weary of associating with him during Clementi's previous visits in 1802 and 1804, and no proper contact had been made.  This time, however, the ice was broken and they rapidly agreed on a publication contract.  This was dated 20 April and witnessed by Baron Ignaz von Gleichenstein (who about this time took over Carl's former role as Beethoven's secretary):  Clementi was to receive the British publication rights to Beethoven's five largest-scale works:  the Fourth Piano Concerto, the 'Razumovsky' Quartets, the Fourth Symphony, the Violin Concerto and Coriolan (Opp. 58-62).  . . . Three works, the piano concerto, the symphony, and the overture--were despatched by courier almost immediately on 22 April.  . . . He also eventually published the 'Razumovsky' Quartets and the Violin Concerto (in both versions), but surprisingly, he never published any of the three works sent by courier.  The courier was travelling to London via Russia and the precious manuscripts were probably lost in transit" (Cooper:  166-167).

Confirmation of the contract between Beethoven and Clementi is already contained in the GA comment to Letter No. 261 (the publisher's refusal to accept Beethoven's offer, in their letter of November 26, 1806):  

"Breitkopf & Härtel an Beethoven

                                                                                               [Leipzig, 26. November 1806]

[Der Verlag ist mit Beethovens Vorschlägen in Brief 260 nicht einverstanden und verzichtet unter Hinweis auf die kriegsbedingte schlechte Ertragslage auf den Ankauf der angebotenen Werke]"

[The publishers could not agree to Beethoven's suggestions and, referring to the bad economic situation on account of the recent war, they had to decline his offer]"

[Source;  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 1, Letter No. 261, p. 294; Original:  not known; content derived from registration note on Letter No. 260 and from the fact that the negotiations were broken off; with respect to this, the GA also listed Muzio Clementi's Letter of February 22, 1807, to the publisher: 

"Beethoven ed io siam diventati buoni amici alla fine.  Abbiamo fatto un accordo, pel quale mi cede la proprieta per li Stati Britannici, in 3 quartetti, una Sifonia, un Overtura, un Concerto a Violino, ed un Concerto da Piano e Forte.  Ho fatto questo accordo con lui in consequenza della vostra lettera, data di 20 Gennajo, nella quali mi dite  n o n   p o t e r   a c c e t a r e ,  a causa della guerra, le sue proposizioni. L'ho pregato di trattar con voi per la Germania" [Unsere eigene Übersetzung:  "Beethoven and I have finally become good friends.  We have entered into an agreement, according to which he will give me the publication rights for Britain for three quartets, a symphony, an overture, a Concerto for Violin and a Concerto for the Pianoforte. I have entered into this agreement with him as a consequence of your letter of January 20th, in which you wrote that you, on account of the war, were not able to accept his offer.  I have asked him to negotiate with your, with respect to Germany; details taken from p. 294]. 

That Beethoven also wanted to see his works published in France is confirmed by his following letters:  

"Beethoven an Ignaz und Camille Pleyel[1] in Paris

                                                                              Wien den 26. April 1807.

    Ich bin gesonnen, nachstehende sechs neue Werke an eine Verlags Handlung zu Paris, an eine in London und an eine in Vienne zugleich, jedoch unter der Bedingung zu verkaufen, daß sie an jedem dieser drey Orte erst nach einem bestimmten Tage erscheinen dürfen.[2]  Auf diese Art glaube ich meinen Vortheil in Beziehung auf die schnelle Bekanntmachung meiner Werke, und dann in Beziehung des Preises sowohl meinem, als dem Vortheil der verschiedenen Verlags Handlungen zu vereinigen die Werke sind:[3]

1)   eine Symphonie                                        4)  3 Quators

2)   eine Ouverture,                                         5)  ein Concert für's Klawier

       komponiert für das Trauerspiel               6)  das Violin Concert arrangé

       Coriolan von H. Collin                                  für das Klavier

 3)   ein Violin Concert.                                        avec des notes additionelles

Ich trage Ihnen den Verlag dieser Werke für Paris an, und mache Ihnen, um durch schriftliches Handeln die Sache nicht in die Länge zu ziehen, gleich den sehr billigen Preiß von 1200 Gulden Augsburger Current.[4]  Diese Summe würden Sie mir dann bei Ihrem hiesigen Korrespondenten oder Wechsler in guten Augsburger Wechseln gegen Empfang der 6 Werke auszahlen lassen, und Ihr Korrespondent hätte dann auch <d> für die Versendung zu sorgen,  Da ich nicht zweifle, daß Ihnen dieser Antrag gefällt, so ersuche ich Sie um eine baldige Antwort, damit diese Werke, welche alle schon bereit liegen, dann unverzüglich Ihren hiesigen Korrespondenten können übergeben werden.

    Was den Tag der Herausgabe betrift; so glaube ich für die 3 Werke der ersten Kolone den 1. 7br (September),[5] und für die der zweiten Kolone den 1. 8ber (Oktober) d.J. bestimmen zu können.

                                                                              Ludwig van Beethowen

    Mein lieber verehrter Pleiel -- Was machen sie, was ihre Familie, ich habe schon oft gewünscht bey ihnen zu seyn, bis hieher war's nicht möglich, zum Theil war auch der Krieg dran schuld, ob man sich ferner davon müßte abhalten laßen -- oder länger? -- so müßte man Paris wohl nie sehen -- --

    mein lieber Camillus, so hieß, wenn ich nicht irre der Römer, der die bösen Gallier von Rom wegjagte,[6] um diesen Preiß, mögte ich auch so heißen, wenn ich sie allenthalben vertreiben könnte, wo sie nicht hingehören -- was machen sie mit ihrem Talent lieber Camill -- ich umarme sie beyde Vater und sohn von Herzen, und wünsche neben dem Kaufmännischen, was sie mir zu schreiben haben, auch vieles von dem, was sie selbst und ihre Familie angeht zu wißen -- leben sie wohl und vergeßen sie nicht ihren Wahren Freund

                                                                                                 Beethowen" 

"Beethoven to Ignaz and Camille Pleyel[1] in Paris

                                                           Vienna the 26th of April, 1807.

    I am inclined to sell the six new works listed below to a publisher in Paris, to one in London, and to one in Vienna at the same time, however, under the condition that in each of these three locations, they only may appear after a certain date.[2]  In this way I believe that I can combine my advantage with respect to the speedy publication of my works, and then with respect to the price, with the advantage to the various publishers.  The works are:[3]

1)  a symphony                            4)  3 quartets
2)  an overture,                            5)  a concerto for the piano
     composed for the tragedy      6)  the violin concerto arranged
     Coriolan by H. Collin                  for the piano
3)  a Violin Concerto.                       with additional notes

    I am offering you the publication of these works for Paris, and offer you, in order not to prolong the matter through written negotiations, right away, the very reasonable price of 1,200 florins in Augsburg currency.[4]  You would then pay out to me this sum to your Viennese correspondent or exchange partner in good Augsburg drafts, in exchange for the receipt of the six works, and your correspondent would then also have to take care of the delivery of the works.  Since I do not doubt that this offer will be to your liking, I ask you for a quick reply so that these works which are already ready for dispatch can be handed over to your correspondent without delay.  

    As far as the publication date is concerned, I believe that I can name the 1st of September for the three works of the first column, and for those of the second column the 1st of October, as the publication dates.  

                                                                              Ludwig van Beethowen

    My dear revered Pleiel --What are you doing, what are your family doing; often, I have wished that I could be with you; up to now, it has not been possible.  Partly, the war was also to blame for it, if one has to abstain from it further--or longer?--that way, one might never see Paris-- --  

    my dear Camillus, that was the name, if I am not wrong, of the Roman who chased the bad Gauls out of Rome,[8] for this price, I would also like to be named thus, if I could chase them out where they do not belong--what are you doing with your talent my dear  Camill--I sincerely embrace you both, father and son, and, in addition to the business matters you will have to write to me about, I also want to know much of what concerns you and your family--farewell and do not forget your true friend  

                                                                                                 Beethowen 

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. I, Letter no. 277, p. 308-310]

[Original:  Bonn, Beethoven-Haus; to [1]: refers to Ignaz Joseph Pleyel [1757-1831], Austrian-born composer, music publisher and piano maker and pupil of Vanhal and Haydn who, after touring and performing in Italy, Strasbourg and London, settled in Paris in 1795 and, in 1802, with his  "Bibliotheque musicale" opened the first known series of pocket book scores, as well as to his son Camille Pleyel [1788-1855], composer, pianist and music publisher; to [2]: refers to the fact that no contract was formed with Pleyel; to [3]: refers to Op. 60, Op. 62, Op. 61, Op. 59, Op 58 as well as to the arrangement of Op. 61 as piano concerto; to [4]:  refers to the florin of Augsburg currency, which had the equivalent value of the Austrian convention currency; to [5]:  refers to the fact that, in his contract with Clementi, Beethoven had agreed not to publish the three works of the first column outside of Britain, before the 1st of September, 1807; to [6]:  refers to Beethoven's reference to Marcus Furius Camillus, the second founder of Rome who, in 390 BC, chased the Gauls out of Rome; details taken from p. 310.] 

"Beethoven an Nikolaus Simrock in Bonn

                                                                       Wien den 26. April 1807

    Ich bin gesonnen nachstehende sechs neue Werke an eine Verlags Handlung in Frankreich, an eine in England, und an eine in Wien zugleich, jedoch unter der Bedingung zu verkaufen, daß sie erst nach einem bestimmten Tage erscheinen dürfen.[1]  Auf diese Art glaube ich meinen Vortheil in Rücksicht der schnellen Bekanntmachung meiner Werke, und dann in Rücksicht des Preises sowohl meinen als den Vortheil der verschidenen Verlags Handlungen zu vereinigen.  die Werke sind: 

1)  eine Symphonie                            4)  3 Quatuors
2) eine Ouverture,                              5) ein Concert für's Klavier
    komponiert für das Trauerspiel     6) das Violin Concert arrangé
    Coriolan von H. Collin                       für das Klavier
3) ein Violin Concert.                             avec des notes additionelles

    Ich trage Ihnen an, diese Werke in Paris herauszugeben, und mache Ihnen, um durch schriftliches Handeln die Sache nicht in die Länge zu ziehen, gleich den sehr billigen Preiß von 1200. Gulden Ausburger Current; welche Summe Sie mir bey Ihrem hiesigen Korrespondenten oder Wechsler in guten Augsburger Wechseln gegen Empfang der sechs Werke auszahlen <zu> lassen würden.  Ihr Korrespondent hätte alsdann auch für die Versendung zu sorgen.  Da ich nicht zweifle, daß Ihnen dieser Antrag ansteht; so ersuche ich Sie, mir bald zu antworten, damit diese werke, welche alle bereit liegen, dann unverzüglich Ihrem hiesigen korrespondenten können übergeben werden. -- Was den Tag der Herausgabe betrifft, so glaube ich für die 3 Werke der ersten Kolone den 1. 7br, und für die der zweiten Kolone den 1. 8br d.J. bestimmen zu können.

                                                                               Ludwig Van Beethowen"

"Beethoven to Nikolaus Simrock in Bonn

                                                              Vienna, the 26th of April, 1807

    I am inclined to sell the six new works listed below to a publisher in France, to one in England, and to one in Vienna simultaneously, however, under the condition that they many only be published after a certain date.  In this way I hope to combine my advantage with respect to the rapid publication of my works, and with respect to the price, with the advantage to the various publishers.  The works are:  

1)  a symphony                            4)  3 quartets
2)  an overture,                            5)  a concerto for the piano
     composed for the tragedy     6)  the violin concerto arranged
     Coriolan by H. Collin                  for the piano
3)  a Violin Concerto.                       with additional notes

    I am offering you the publication of these works in Paris and offer you, in order not to delay the matter through written negotiations, right away, the very favorable price of 1,200 florins in Augsburg currency, which sum you will pay out to me through your Viennese correspondent or exchange partner, in form of good Augsburg drafts in exchange for these works.  Your correspondent would then also be responsible for the delivery of the works.  Since I do not doubt that you will like this offer, I ask you to reply to me right away so that these works that are already ready for dispatch can immediately be handed over to your correspondent.  As far as the publication date is concerned, I believe that I can indicate Sept. 1 for the works of the first column and for those of the second column, October 1st.  

                                                                               Ludwig Van Beethowen"

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. I, Letter no. 278, p. 310-311]

[Original:  from the hand of Ignaz von Gleichenstein, signed by Beethoven; Bonn, Beethoven-Haus, Bodmer Collection; to [1] here, the GA refers to the contract with Muzio Clementi of April 20, 1807 and to the offer to Pleyel (letter no. 277]; details taken from p. 311.]

At least his old Bonn friend Simrock replied: 

"Nikolaus Simrock an Beethoven

                                                                    Bonn den 31. Mai 1807.

    Gestern erhielt ich lieber L. v. Beethoven Ihr mir sehr Werthes vom 26. April.[1]  Da durch die Mit-Verleger in Wien und England, mein Gewinn auf Frankreich eingeschränkt ist, wo ihre Werke außer Paris, und da bei weitem nicht nach Verdienst benutzt werden können.  Nun noch der Krieg, wo Alles, was nur Bezug auf Handel hat, völlig still liegt, noch unter keiner Epoche seit dem 15jährigen Krieg[2] lag der Musik-Handel so sehr darnieder, als nun, und fällt täglich tiefer.  Ein Englischer Verleger spürt das nicht so, denn[3] die österreichische Monarchie hat Frieden.  Ganz anders ist es mit dem nördlichen Deutschland und Frankreich.  Selbst einige Jahre Frieden werden die Wunden nicht heilen.  Alles, was ich in meiner dürren Lage kann, schraubt sich auf 1600 Livres[4] ein, wenn Sie diese Umstände, lieber Herr Beethoven genau erwägen wollen, so werden Sie selbst finden, daß ich sehr viel thue, so wenig Ihnen das gegen England scheinen mag.  Nur noch ein Umstand -- noch ist es ein Problem ob man mir dieses von Ihnen übertragene Eigenthum nicht nachsticht -- mehrere französische Verlager behaupten, der Compositeur müsse Citoyuen francais sein, um sein Recht übertragen zu können.  Beweise hiervon habe ich an Cramer's Etudes[5], welche Mrs. Erard als ihr Eigenthum in Paris herausgaben, aber von Sieber, einem Engländer[6] gleich nachgestochen, und Mrs. Erard haben aber bis diese Stunde nicht reklamirt.  Dieser Umstand erfordert demnach wieder eine andere Maßregel.  Ich schlage demnach vor -- Im Fall Sie mein Gebot billig finden, Sie möchten ohne Zeit-Verlust diese Werke an Herrn von Breuning[7] senden.  Ich zahle demselben gleich 300 Livres baar und gebe ihm einen wechsel auf mich selbst, von 1300 Lives in 2 Jahren zahlbar, wenn man mir in Frankreich keines dieser Werke nachsticht.  Ich werde übrigens alle Maßregeln  nehmen, welche mir mein Eigenthum sichern, nach den Gesetzen.

2000 Franc habe ich offerirt."

Nikolaus Simrock to Beethoven

                                                         Bonn the 31st of May, 1807.

    Yesterday, I received, dear Beethoven, your very esteemed [letter[] of April 26th[1]  Since, on account of the co-publishers in Vienna and England, my profit is limited to France, where your works can be used besides in Paris, and there, by far, not as deserved.  And then [there is] still the war, where everything that is only related to trade, is lying completely still; at no time, since the 15-year-war[2], has the music trade been as down as now, and daily, it falls even lower.  An English publisher does not feel that as much, since [3] the Austrian monarchy is at peace.  This is quite different with respect to northern Germany and France!  Even several years of peace will not heal the wounds.  All that I can do in my constrained situation amounts to 1,600 livres[4]; if you, dear Herr Beethoven, consider these circumstances, then you will find, for yourself, that I am doing very much, as little as that might appear to you, compared to England.  There is one more obstacle--there still exists the problem that one might print pirate copies of the works you grant me ownership of--several French publishers say that the composer must be a French citizen in order for him to transfer his ownership rights.  Evidence of this I have with Cramer's etudes that Mrs. Erard published as their property in Paris, but of which a pirate copy was made immediately by Sieber, an Englishman[6], and to this hour, Mrs. Erard have not complained.  Therefore, this circumstance requires another measure.  Therefore I propose, if you find my offer fair, that you send the works, without delay, to Herr von breuning[7].  I will pay to the same 300 livres cash, right away and I will give him a draft issued in my name, in the amount of 1,300 livres, payable in 2 years, if one does not print pirate copies of the works in France.  Moreover, I will take all steps to secure my ownership, according to the law.   

I have offered 2000 Francs.

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. I, Letter no. 282, p. 313-314]

[Original:  not known; text pursuant to the first print of TDR III, p. 31ff.; to [1]: according to the GA this refers to Letter no. 278; to [2]: according to the GA, this time has been calculated from the outbreak of the first coalition war in April, 1792; to [3]: refers to the note by TDR:    "Statt dieses 'denn' dürfte wohl 'und' zu lesen sein"["instead of 'denn,' it might read 'und'"; to [4]: this refers to the fact that this amount euqalled approximately 1,0-00 florins in Viennese currency; to [5]: according to the GA, this probably refers to Johann Baptist Cramer's Etude de Pf. en 42 Exercises doigtes dans les differns Tons, calcules pour faciliter les Proges de ceux qui proposent d'etudier cet Instrument a Fond, which appeared both through Erard in Paris and Sieber in Paris; to [6]: according to the GA, this refers to Gerog Sieber who hailed from Franconia in Germany and who held the French citizenship to [7]: refers to Stephan von Breuning; details taken from p. 314.]

In his lines from June 13 and June 16, 1807, Beethoven also makes comments on his "French" endeavors: 

"Beethoven an Baron Ignaz von Gleichenstein

                                                                     [Baden, 13. Juni 1807][1]

Lieber gleichenstein --

    die <Nacht> vorgestrige Nacht hatte ich einen Traum, worin mir vorkam, als sey's du in einem Stall, worin du von ein paar prächtigen Pferden ganz bezaubert und hingerissen wurdest, so daß du alles rund um dich her vergaßest.

    dein Hut-Kauf ist schlecht aus gefallen, er hat schon gestern morgen in aller Früh einen Riß gehabt, wie ich hieher bin, da er zu viel Geld kostet, um gar so erschrecklich angeschmiert zu werden, so must du Trachten, daß sie ihn zurück nehmen, und dir einen andern geben, du kannst das diesen schlechten Kaufleuten derweil ankündigen, ich schike dir i[h]n wieder zurück -- das is gar zu arg --

    Mir geht es heut und gestern sehr schlecht ich habe erschreckliches Kopfweh, -- der himmel helfe mir nur hievon -- ich habe ja genug mit einem übel -- wen du kannst schicke mir Bahrdt übersezung des Tacitus[2[] -- auf ein andermal mehr, ich bin so übel, daß ich nur wenig schreiben kann -- leb wohl und -- <träume>denk an meinen Traum und mich --

                                                                          dein treuer Beethowen

Baaden am 13ten Juni

    aus dem Briefe von Simrock[3] erhellt, daß wir wohl von Paris -- noch eine Günstige Antwort erwarten dürfen -- sage meinem Bruder[4] eine günstige Antwort hierüber, ob du's glaubst, so daß alles noch einmal geschwind abgeschrieben wird --

schick mir deine Nummer von deinem Hause[5] -- --

Pour Mr. de Gleichenstein Antworte mir Wegen dem Hut --"

Beethoven to Baron Ignaz von Gleichenstein

                                                                     [Baden, June 13, 1807][1]

Dear Gleichenstein --

    the <night> the night before last I had a dream in which I thought that you were in a stable, where you were quite charmed by a few beautiful horses, so that you forgot everything around you.  

    your hat purchase turned out badly, already yesterday morning, it had a tear when I came here;, since it cost too much money in order for a person to be duped so terribly, you have to take care that they take it back and that they give you another one; in the meantime, you can let these bad merchants know about it, I will send it back to you--this is too bad-- 

   Today and yesterday, I felt very bad; I have a terrible headache--heaven help me against it--I have enough with one affliction--if you can, send me Bahrdt's translation of Tacitus[2]--more another time, I am feeling so bad that I can only write little--farewell and--think of my dream and me-- 

                                                                     your faithful Beethowen

Baaden on the 13th of June

    from Simrock's[3] letter it becomes clear that we might get a favorably reply from Paris--let my brother[4] have a favorable reply with respect to it, if you believe it, so that everything will be quickly copied, again-- 

send me the number of hour house[5] -- --

Pour Mr. de Gleichenstein Reply with respect to the hat-- 

[Source:  Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. I, Letter no. 283, p. 315]

[Original:  Bonn, Beethoven-Haus, Bodmer Collection; to [1]:  refers to the fact that the year can be derived from the mention of Simrock's letter of May 31, 1807; to [2]: probably refers to the edition of Cornelius Tacitus, Sämltiche Werke Übersetzet von D. Carl Friedrich Bahrdt, Wien-Prag 1796, 2. Aufl. 1801; to [3]: refers to letter no. 282; to [4]: probably refers to Johann van Beethoven, see letter no. 288; to [5]: refers to Gleichenstein's Vienna apartment in the inner city, no. 155, Hohe Brücke, on the 2nd floor, and to letter no. 287; details taken from p. 315.]

"Beethoven an Baron Ignaz von Gleichenstein

                                                             &n