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BEETHOVEN'S SEVENTH SYMPHONY |
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A VAST TIME SPAN - INTRODUCTION
Already at the time at which Beethoven offered his Fifth and Sixth Symphonies to the Leipzig publisher Breitkopf & Härtel, he thought of composing a further symphony. With respect to this, let us take a look at his letter from the year 1808:
"Beethoven an Breitkopf & Härtel in Leipzig
[Heiligenstadt, etwa 10. Juli 1808] . . .
Euer Hochwohlgebohrn!
. . . -- ich gebe ihnen . . . die 2 Sinfonien[4], . . . und noch zwei andere Sonaten <oder> für's Klawier oder statt diesen vieleicht noch eine Sinfonie[6] . . . "
"Beethoven to Breitkopf & Härtel in Leipzig
[Heiligenstadt, about the 10th of July, 1808] . . .
Highly-Wellborn Sir!
. . . -- I give you . . . the 2 Symphonies[4], . . . and still two other Sonatas for Piano and, in their stead, perhaps still a Symphony[6] . . . "
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, p. 16-17; Original: Bonn, Beethoven-Haus, Bodmer Collection; to [4]: refers to Op. 67 and Op. 68; to [6}: according to the GA, this refers to projects that were not realized; details taken from p. 17].
In the chapter to the year 1808, TF mentions something similar:
"The fact that Beethoven was already thinking of writing a seventh symphony is shown both by these letters to the publishers and by the letter to Count Oppersdorff . . . " [TF: 434].
How vast Beethoven's life span is that covers the time in which his Seventh Symphony should play a certain role, can be seen from his lines to Haslinger, from the year 1823:
"Beethoven an Tobias Haslinger
[Wien, vielleicht Februar 1823]
Bester A----t!
. . .
zu lezt ist noch beyzufügen der Klawierauszug der Sinfonie in A der Klawierauszug der Sinfonie in F.[4] -- . . . "
"Beethoven to Tobias Haslinger
[Vienna, perhaps in February, 1823]
Best A----t!
. . .
at last, the piano reduction of the Symphony in A the piano reduction of the Symphony in F are to be included[4] -- . . . "
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 5, Letter No. 1593, p. 72-73; Original: Bonn, Beethoven Haus, Bodmer Collection; to [4]: refers to Op. 92 and Op. 93; Information taken from p. 72 -73].
This vast time span thus stretches from the time of Beethoven's receiving his annuity [March 1, 1809], before the first performance of the works that were offered to Breitkopf & Härtel angebotenen Werke [in December 1808], to the time of his composition of his last great public works, the Ninth Symphony and the Missa solemnis.
Let us first follow the first traces of the composition of the Seventh Symphony.
CREATION HISTORY
The "Petter" Sketchbook
1. Thayer-Forbes's Discussion
That 1809 was not the year in which Beethoven began his work on Op. 92 becomes clear from the following comment from Thayer-Forbes's chapter to this year:
"Mention should be made of the so-called Petter sketchbook, now part of the Bodmer collection in Bonn. Unger has resolved the conflict between Thayer and Nottebohm concerning the date of this sketchbook by a closer study of the properties of the paper used. The book consists of two parts which did not originally belong together: a first section of only 9 sheets belonging to the year 1809 and a second section of 65 sheets belonging to the second half of 1811.[11: See Max Unger, "Eine Schweizer Beethoven-Sammlung," NBJ, v. (1933), p. 455] Thus work on the seventh and eighth symphonies which occurs almost completely in the second section of the sketchbook was not really started at all this year as Thayer had supposed. At this time there are only the merest hints of the works to come. What follows is Thayer's description of the significant material in the first 18 pages which can be dated, as he suggests, the winter of 1808-1809" {TF: 473].
In the chapter to the year 1810, Thayer-Forbes writes that Thayer's "conception of the barrenness of the decade 1810-1819 would have been modified had he known that not only the main work but the origin of most of the important melodic ideas of the Seventh and Eighth Symphonies occurred in 1811 and 1812, and not in 1809 as he had supposed. . . . " [TF: 483].
In the chapter to the year 1811, the Thayer-Forbes edition of 1964 again discusses the Petter Sketchbook:
"According to Unger, the last 130 pages of the Petter sketchbook are to be dated from the middle of 1811 to well into the following year. Thayer believed that most of them were to be dated 1809. The importance in the redating of these sketches is the establishment of 1811 as the year in which work started on the seventh and eighth symphonies, and even early attempts at what was to become the choral section of the Ninth Symphony. Thayer's summary of these pages follows:
Viola [Note sample]
With few interruptions, such as a theme for a "symphony without drums," "good triplets of another sort," the Allegretto and Finale of the Seventh Symphony are the subject of the studies for more than forty pages. That modest gem--the theme of the Allegretto--is still the same throughout; but how astonishing the number and variety of forms for its setting, that were tested, before the majestic, the sublime simplicity was attained, which satisfied the exquisite taste of its creator! [Theyer-Forbes: 518-519].
With respect to the Seventh Symphony, TF's discussion of the Petter Sketchbook arrives at the result that his work on this symphony had begun in 1811.
2. The "Petter" Sketchbook at the Beethoven-Haus in Bonn
Let us introduce some interesting quotes from the first page of the Sketchbook Collection of the Digital Beethoven-Haus in Bonn:
"The so-called Petter Sketchbook (HCB Mh 59) with its 74 leaves is today still almost complete. Several leaves were, however, removed after Beethoven's death and were passed on to others."
"Most of the sketches in this book are for the Seventh and Eighth Symphonies."
"The Petter Sketchbook has a characteristic watermark, which is seldom to be found in Beethoven's papers."
" . . . More important for the identification are, however, the stitch holes. . . . "
It is further reported that Gustav Adolf Petter, a one-time owner of this sketchbook, had it newly bound but that already previously, during Beethoven's life time, the pages must have been bound. As is explained, the old binding was not along the fold as was the newer one. "Instead two holes were made in the margin about one centimetre from the fold and 16,5 cm apart, through which thread was to be drawn. The measurements of the two holes and the distance between them allow single leaves to be easily assigned to a miscellany." [Source: Ludwig van Beethoven, Skizzenblatt zur Sinfonie Nr. 7 op. 92, 2. und 4. Satz, Autograph. Beethoven-Haus Bonn, BH 120 [Cited on July 29, 2007].
Here, we want to provide you with an opportunity to take a look at these digital sketchbook versions, yourself, and also to read the interesting comments to them, yourself:
Beethoven's Life Circumstances and the Progress of his work on Op. 92
As Barry Cooper reports, in the year 1811, Beethoven left Teplitz very refreshed and
"apparently made a brief visit to Lichnowsly's castle at Grätz before returning home. He now planned to write an opera, if a suitable text could be found, and started on his Seventh Symphony . . . " [Cooper: 205].
Beethoven's correspondence of the fall of 1811 reflects his negotiations with Breitkopf & Härtel in Leipzig, his stay at Teplitz and also his 'usual' Viennese contacts:
- In his letter of October 8, 1811 to the Leipzig publisher, Beethoven first thanked him for his invitation to Leipzig and then discussed Archduke Rudolph's possible appointment as Primas of Hungary: "I, myself am offering myself to His Imperial Highness who, as Primas of Hungary, would have and income of not any less than 3 millions, so that I would spend 1 million purely for myself [of course, I am referring to all good musical sprits that I would invoke on my behalf] . . . " [Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 523, p. 214-218; Original: Bonn, Beethoven-Haus, Bodmer Collection];
- In his letter of October 11, 1811, to Elisa von der Recke in Berlin Beethoven apologized that he could not accept the invitation to Naumann's Church Music[2]. [Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe Vol. 2, Letter No. 524, p. 218-220; Original: Hannover, Stadtbibliothek; to [2]: verefers to a performance of Naumann's Mass in Dresden, information taken from pages 218-220];
- In his letter of the same date to Christoph August Tiedge in Berlin Beethoven affirmed that "as brief as our get-together was, we soon found out about ourselves and nothing was strange between us . . . " [Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 525; Original: Bonn, Beethoven-Haus, Bodmer Collection];
- Beethoven's last letter to Berlin was that to the singer Amalie Sebald and has, unfortunately, only been preserved as a fragment, so that we do not know what he wrote to his ' . . . zartfühlende Amalia" [Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe Vol. 2, Brief No. 526, p. 221 - 222; Original: Bonn, Beethoven-Haus, Bodmer Collection];
- Most of the remaining, dated letters of the year 1811 consist of Beethoven's notes to his supporting friend Nikolaus Zmeskall, and on December 6, 1811, Elise von der Recke sent him Tiedge's Urania and Elegien sas well as some of her texts.
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Cooper also discusses Beethoven's further activities during this winter:
"During the winter of 1811-12, when he was again plagued by poor health, Beethoven completed nine more Irish folksong settings for Thomson, which he despatched in February, but his main work was on the Seventh Symphony . . . " [Cooper: 206].
Let us also follow Beethoven's traces in his correspondence of this winter:
- On January 19, he complained to Nikolaus Zmeskall: " . . . unfortunately, I am always too free and you, never-- . . . " [Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 543, p. 235; Original: Vienna, Österreichische Nationalbibliothek];
- In his next lines to Zmeskall, according to the GA written around January 26, 1812, but only mailed on February 2nd, Beethoven wrote: "we are ill again" [Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 544, p.235; Original: Bonn, Beethoven-Haus, Bodmer Collection];
- On January 28, Beethoven wrote two letters, namely one to Breitkopf & Härtel in Leipzig [Letter No. 545, Vol. 2, p. 236-238], in which he enclosed the second letter [Np. 546 to August von Kotzebue, Vol. 2, p. 238-240];
- Beethoven's letter of February 2nd to Zmeskall has as an attachment the note of January 26 [Letter No. 544]; in it, he asked Zmeskall, "that your servant gets someone for us to clean out the rooms . . . -- but soon -- carnival animal[4] !!!!!!!!!!!!" [Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 548, p. 241; Original: Vienna, Österreichische Nationalbibliothek; to [4]: refers to the carnival season that ended on February 12; details taken from p. 241];
- In February, Beethoven corresponded with Varena in Graz with respect to a possible benefit concert for the Girls' School of the order of the Ursulines, also with Zmeskall, his aid in quill cutting whom he called the "world's first quill cutter" [Letter No. 550, Vol. 2, p. 243], received mail from Leipzig with the rebuttal of Beethoven's complaints about "erroneous publications" [Letter No. 551, Vol. 2, p. 243], further a letter from Baron Schweiger in the name of Archduke Rudolph, in which it is indicated that the latter was willing to pay Beethoven's salary of 1500 florins in redemption bonds and, in Letter No. 555 to Breitkopf & Härtel he referred to the publisher's expression of "rough tone poets." asked for "3 lieder by Göthe but right away" and complained that he had not yet received Mozart's Requiem and also that his Mass Op. 86 had not been published, yet; on February 29, with Letter No. 556 [Vol. 2, p. 247-249] he sent an approved copy of the Irish folk song, mentioned by Cooper, to Tomson in Edinburgh, and also wrote two further notes to the "Damned former little Music Count" Zmeskall;
- In March, Beethoven received a letter from Reval, from Kotzebue [No. 559, Vol. 2, p. 250], in which the latter, according to the GA, agreed to write an opera libretto for him; Beethoven also corresponded with Ignaz von Baumeister {Letter No. 561, Vol. 2, p. 251] and Franz Rettich [Letter No. 562, Vol. 2, p. 251-252] regarding the Overtures [Op. 113 und Op. 117], and further with Joseph von Varena in Graz {Letters No. 563, Vol. 2, p. 232-233 and No. 564, Vol. 2, p. 253, sending him, among other things, also Op. 113, the Overture to "Die Ruinen von Athen"];
- At the end of March and the beginning of April, in the Gesamtausgabe, we can see some notes by Beethoven to Archduke Rudolph [Vol. 2, Letters No. 565, p. 254, No. 566, p. 254-255, No. 567, p. 255, No. 568, p. 255-256, No. 570, p. 257, and No. 571, p. 257-258], in which Beethoven repeatedly apologized for not having been able to visit him, on account of his own ill health, and in Letter No. 569 to Varena in Graz he asked for Op. 113 back, for copying].
With this, we end our look at Beethoven's correspondence of the winter of 1811/1812, since, as Cooper refers to:
" . . . the autograph score of which is dated 13 April 1812" [Cooper: 206].
Also Solomon [p. 218] writes that "The Seventh Symphony was completed in April 1812".
Thayer-Forbes [p. 527] refers to further correspondence by Beethoven that mentions his new symphony:
"The new symphony, to which there are allusions in the correspondence of this year,[6: Beethoven's letters to Varena on May 8th and July 19th, A 369 and 378] was the Seventh . . " [TF: 527].
Also in his letter to Breitkopf & Härtel, which the publisher [according to TF, p. 519] received on June 1, 1812, Beethoven referred to his completed 'Seventh'. Let us take a look at the original text:
"Beethoven an Breitkopf & Härtel in Leipzig
[Wien, um den 25. Mai 1812][1]
. . .
leben sie wohl ich schreibe 3 neue sinfonien, wovon eine bereits vollendet,[4] . . . "
"Beethoven tn Breitkopf & Härtel in Leipzig
[Vienna, around the 25th of May 1812][1]
. . .
farewell, I am writing 3 new symphonies of which one is already completed,[4] . . . "
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No.. 577, p. 263 - 264; Original: Bonn, Beethoven-Haus, Bodmer Collection; to [4]: refers to Op. 92, the original score of which, according to the GA, bears the date "1812. 13th of April"; information taken from p. 263-264].
Let us close our creation history with Thayer-Forbes's report:
"The compositions of the year were:
1811-12. Symphony No. 7 in A major, Op. 92 . . . " [TF: 547].
FIRST PERFORMANCES
Rehearsal and Failed Attempts at premiering the Work in the Spring of 1813
1. Beethoven's Life Circumstances in the Interim Period
From our Biographical Pages we know that in the summer of 1812, Beethoven stayed in Bohemia, visiting the baths for health reasons and that, in July 1812, he wrote his famous letter to his Immortal Beloved there and that, from his summer stay in Bohemia he returned home via Linz, to visit his brother Nikolaus Johannes and became embroiled in bitter arguments with him on account of his, in Beethoven's eyes, immoral life style, with respect to his common-law marriage with his housekeeper Therese. Beethoven is even reported as having tried to put a stop to this situation.
In what emotional and financial state Beethoven was at the beginning of 1813, becomes clear from two letters that he wrote in January, 1813:
"Beethoven an Erzherzog Rudolph
[Wien, 6. Januar 1813][1]
Ihro Kaiserliche Hoheit!
Ich war eben gestern ausgegangen, als ihr gnädiges Schreiben[2] bey mir anlangte-- was meine Gesundheit anbelangt, so ist's wohl dasselbe, um so mehr, da hierauf Moralische Ursachen wirken, die sich sobald nicht scheinen heben zu wollen, um so mehr, da ich nur alle Hülfe bey mir selbst suchen, und nur in meinem Kopf die Mittel dazu finden muß . . . "
"Beethoven to Archduke Rudolph
[Vienna, January 6, 1813][1]
Your Imperial Highness!
Yesterday, I was out when your gracious letter arrived[2]--as far as my health is concerned, it is the same, all the more, since moral reasons have an impact on it that do not appear to vanish, very soon, all the more, since I have to seek all help within myself, and since I have to find the means for that only in my head; . . . "
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe Vol. 2, Letter No. 615, p.313-314; Original: Vienna, Society of the Friends of Music; to [1]: refers to the fact that the letter is an answer to the Archduke's letter of the previous day, Letter No. 614 of January 3, 1813; to [2]: refers to Letter No. 614; details taken from p. 314].
"Beethoven an Gräfin Maria Eleonora Fuchs
[Wien, kurz nach dem 6. Januar 1813][1]
Meine liebe Gräfin!
wie leid thut es mir nicht ihrer Einladung folge leisten zu können, allein ich habe eben etwas sehr dringendes zu schreiben, denn leider ist dieses das einzige, was mir übrig bleibt troz allen Aufopferungen, die ich gemacht, wenn ich nicht vor Hunger umkommen will -- und einen meiner Unglücklichen kranken Brüder[3] nicht ebenfalls Umkommen laßen will -- . . . "
"Beethoven to Countess Maria Eleonora Fuchs
[Vienna, shortly after January 6, 1813][1]
My dear Countess!
I am sorry that I can not take you up on your invitation; alone, I have to write something very urgent, right now, since this is the only thing that remains for me, in spite of all sacrifices that I have made, if I do not want to starve--and if I also do not want to let one of my unfortunate, ill brothers, starve, as well-- . . . "
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe Vol. 2, Letter No. 616, p. 314-315; Orginal: in private hands in Austria; to [1]: refers to Countess Maria Eleonora Fuchs, nee von Gallenberg, married to Graf Franz Xaver Fuchs, the sister of the composer, Count Wenzel Robert von Gallenberg and therefore also the sister-in-law of Giulietta Guicciardi; to [2]: refers to Pierre Rode's concert in the large Redoutensaal on January 6, 1813; to [3]: refers to Kaspar Karl van Beethoven, who was suffering from tuberculosis; detaisl taken from p. 315].
Beethoven's life circumstances during this winter were also influenced by his struggle for the payment of that part of his annuity that he had lost due to the death of Prince Kinsky [as can be seen in his correspondence with Princess Marie Charlotte Kinsky, of February 12, 1813, and in the correspondence of Dr. Johann Nepomuk Franz Lippa with Johann Michael Obermiller in this matter [Letter No. 627 of March 22, 1813 and Letter No. 628 of March 26, 1813] and by his negotiations with George Thomson in Edinburgh [see Letter No. 621 of February 2, 1813 by Beethoven to Thomson, Letter No. 623 of February 19, 1813 by Thomson to Beethoven, Letter No. 626 of March 6, 1813, by Fries & Comp. to George Thomson, and Letter No. 629 of March 27, 1813, by George Thomson to Beethoven] .
2. On the Rehearsal of the Symphony and on Beethoven's Futile Attempts at Premiering the Work in the Spring of 1813
With respect to Beethoven's plans of premiering the Seventh Symphony, we should first take a brief look at his correspondence with Joseph von Varena in Graz in the year 1812, thus at a time in which this work had just been completed:
"Beethoven an Joseph von Varena in Graz[1]
Vien am 8ten May 1812
Hochgeehrtester Herr!
immer kränklich und viel beschäftigt, konnte ich ihre Briefe nicht beantworten--
. . .
--für die künftige Akademie zum besten der ehrwürdigen Ursulinerinnen verspreche ich ihnen sogleich eine ganz neue Sinfonie [9], . . . "
"Beethoven to Joseph von Varena in Graz[1]
Vienna the 8th of May 1812
Highly Esteemed Sir!
constantly ailing and very busy, I was not able to answer your letters--
. . .
--for the upcoming Academy for the benefit of the honorable Ursulines, I promise you, right away, an entirely new Symphony [9], . . . "
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 576, p. 261-263; Original: Bonn, Beethoven-Haus, Bodmer Collection; to [1]: according to the GA, this refers to the fact that the recipient of the letter can be guessed at from the context; to [9]: refers to Op. 92; details taken from p. 262-263].
"Beethoven an Joseph von Varena in Graz
Teplitz am 19ten Juli (1812)
Sehr spät kommt mein Dank für die guten Sachen, die mir die würdigen Frauen alle zum Naschen geschickt,[1] beständig kränklich in Vien muste ich mich endlich hierher flüchten, Unterdessen besser spät als gar nicht, und so bitte ich sie den Ehrwürdigen Frauen Urselinerinnen alles angenehme in meinem Namen zu sagen, übrigens braucht es so viel Dank nicht, ich Danke [dem] der mich in stand gesezt, hier und da mit meiner Kunst nüzlich zu seyn--sobald sie von meinen geringen Kräften zum besten der E.F. wieder Gebrauch machen wollen, schreiben sie nur an mich, eine neue Sinfonie ist schon bereit dazu, da der Erzherzog Rudolf sie abschreiben ließ,[2] so <ko>machet ihnen diese gar keine Unkosten-- . . . --Wollen die E.F. übrigens glauben, daß sie mir was gutes erzeigen, so sollen sie mich mit ihren Zöglingen in ihr frommes Gebeth einschließen-- . . . "
"Beethoven to Joseph von Varena in Graz
Teplitz the 19th of July (1812)
Very late are my thanks in coming, for the good things that the worthy Ladies had sent for me to nibble on,[1] constantly ailing, in Vienna, I finally had to flee here. In the meantime, better late than never, and thus I ask you to convey to the honorable Ursuline Ladies everything good in my name, by the way, so many thanks are not needed, I thank [him] who has enabled me to be of use to my art, here and there--as soon as you want to make use of my humble skills again, for the benefit of the H.L. [honorable ladies], just write to me, a new Symphony is already in waiting for that, since the Archduke Rudolph had it copiedm[2] so that this will not amount to any costs to you-- . . . --If the H.L. think that they want to do something good for me, they could include me, with their charge, in their pious prayers-- . . . "
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 587, p. 27-279; Original: Washington, Library of Congress; to [1]: according to the GA, this refers to a gift of gratitude that the Ursulines presented for Beethoven's support of their bene3fit convert of March 29, 1812; to [2]: refers to Op. 92; details taken from p. S. 279].
These letters of Beethoven show that already in the spring and summer of 1812 he thought of giving the Seventh Symphony to the Graz Ursulines for one of their benefit concerts. In March, 1813, he would return to this idea:
"Beethoven an Joseph von Varena in Graz
[Wien, März 1813][1]
Mein Werther Herr!
. . . -- Meine Gesundheit ist nicht die beste--und unverschuldet ist eben meine sonstige Lage wohl die Ungünstigste meines Lebens--übrigens wird mich das und nichts in der welt nicht abhalten, ihren eben so unschuldig leigenden Konwent-Frauen so viel als möglich durch mein geringes Talent zu helfen[3]--
daher stehn ihnen 2 ganz neue Sinfonien[4] zu Dienste, ... "
"Beethoven to Joseph von Varena in Graz
[Vienna, March 1813][1]
My worthy Sir!
. . . -- My health is not the best--and, without my fault, my other situation is probably the most unfavorable of my life--by the way, this and nothing in the world will keep me to help your equally innocently suffering Convent Ladies as much as possible with my humble talent[3]--
therefore, they have 2 entirely new Symphonies[4] at their disposal, ... "
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 630, p. 333-334; Original: Harvard, College Library, Locker-Lampson-Warburg-Brimson-Album (MS Eng 870 (79A)); to [1]: refers to the writing of the letter in March 1813, which, according to the GA, can be derived from its content; to [3]: refers to a benefit concert in Graz for the Ursuline "Mädchen-Erziehungsanstalt" [Girls' Institute]; to [4]: refers to Op. 92 and Op. 93; details taken from p. 334].
From this time on we can observe various further activities with respect to the Seventh Symphony. From the next letter by Beethoven to Archduke Rudolph we learn that he had this Symphony copied, already in 1812, and that it was soon to be rehearsed in his Vienna residence:
"Beethoven an Erzherzog Rudolph
[Wien, wohl 14. April 1813][1]
Ihro Kaiserliche Hoheit!
Es ist nicht möglich bis Morgen um Eilf Uhr die Stimmen[2] verdoppelt zu haben, die Kopisten haben für diese Woche meistens viel zu schreiben, ich Glaube daher, daß sie gnädigst den Auferstehungs-Tag künftigen Sonnabend nehmen,[3] bis dahin bin ich auch gewiß wieder Hergestellt, und kann beßer Dirigiren, welches mir morgen etwas schwer geworden wäre troz Meinem Guten willen, Freytags hoffe ich sicher aus zu gehen, und mich Anfragen zu können.
ihro Kaiserliche Hoheit treuer Gehorsamster
ludwig van Beethowen"
"Beethoven to Archduke Rudolph
[Vienna, probably the 14th of April 1813][1]
Your Imperial Highness!
It is not possible to have the parts[2] doubled by eleven o'clock tomorrow, for this week, the copyists mostly have to write a lot, therefore, I believe that you might most graciously take the Ascension Day next Saturday,[3] until then I will certainly also be restored and will be able to better conduct, which would have been difficult for me, tomorrow. On Friday, I certainly hope to go out in order to be able to call on You.
Your Imperial Highness's faithful most obedient
ludwig van Beethowen"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 634, p. 337; Original: Vienna, Society of the Friends of Music; to [1]: according to the GA this refers to the fact that the time at which these lines were written can be derived from their content, namely during Holy Week 1813, from April 11 - 17, probably a day before the planned orchestra rehearsal and at least two days before Friday, the 16th of April, thus probably on Wednesday, the 14th of April, 1813; to [2]: probably refers to the parts of the Eighth Symphony, Op. 93, since already in 1812, Archduke Rudolph had the parts to the Seventh Symphony, Op. 92, copied; to [3]: according to the GA this refers to the fact that the rehearsal only took place on April 21, 1813, in the residence of the Archduke at the Vienna Hofburg; details taken from p. 337].
Beethoven's next letter to the Archduke refers to Beethoven's--temporary giving up on his intentions to lend the Seventh Symphony out for a Graz benefit concert performance and represent his request to his patron to assist him with an Academy Concert:
"Beethoven an Erzherzog Rudolph
[Wien, wohl 16. April 1813][1]
Ihro Kaiserliche Hoheit!
Ich frage mich an, ob ich, nun ziemlich wieder hergestellt, ihnen diesen Abend aufwarten soll? -- zugleich nehme ich mir die Freyheit ihnen eine geho[r]samste Bitte darzulegen, ich hofte, daß wenigstens bis jezt meine Trüben Umstände sich würden erheitert haben, allein--Es ist noch alles im alten Zustande, daher muste ich den Entschluß fassen 2 Akademien zu geben, meine frühern Entschlu¨sse D.G. bloß zu einem Wohlthätigen Zweck zu geben,[2] mußte ich aufgeben, denn die selbsterhaltung heischt es nun anders. -- Der Universitäts-Saal wäre am Vortheilhaftesten und Ehrenvollsten für mein jeziges vorhaben, und meine gehorsamste Bitte besteht darin, daß I.K.H. <nur>die Gnade hätten, nur ein Wort an den Dermaligen Director magnificus der Universität Durch den Baron Schweiger gelangen zu laßen, wo ich den gewiß diesen Saal erhalten würde -- In Ewartung einer gnädigen Bewilligung meiner Bitte Verharre ich
Ihro Kaiserliche Hoheit gehorsamster
ludwig van Beethowen"
"Beethoven to Archduke Rudolph
[Vienna, probably April 16, 1813][1]
Your Imperial Highness!
I am enquiring whether I, pretty well restored, may call on you this evening?--at the same time I also take the liberty of presenting to you a most obedient request, I hoped that at least by now my unfavorable circumstances would have cheered up a bit, alone--everything is still in the same state, therefore I had to resolve to give 2 Academies, my former resolutions to give them only for benefit purposes[2] I had to give up, since self-preservation dictates otherwise, now.--The University Hall would be the most advantageous and honorable for my present plans, and my most humble request consists of enquiring whether Your Imperial Highness would have the graciousness of sending only a word to the present Director magnificus of the University, through Baron Schweiger, so that I would certainly be granted the use of the Hall--In anticipation of your gracious granting of my request I remain
Your Imperial Highness's most obedient
ludwig van Beethowen"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 635, p. 337 - 339; Original: Vienna, Society of the Friends of Music; to [1]: with respect to this, the GA points out that the letter is connected to Beethoven's plans to premiere his Symphonies Op. 92 and Op. 93 in April 1813; to [2]: refers to the fact that Beethoven originally intended to have both Symphonies premiered at a benefit concert in Graz; to [3]:according to the GA this refers to Franz Xaver Matoschek who held this post from 1812 to November 1813; details taken from p. 339].
At the same time, Beethoven also wrote a few lines to Schweiger:
"Beethoven an Baron Joseph Schweiger von Lerchenfeld
[Wien, wohl 16. April 1813][1]
lieber Freund! ich habe heute den gnädigsten Herrn und zwar schriftlich gebeten, sich für mich zu verwenden, daß ich den Universitätssaal für 2 Akademien, welche ich gedenke zu geben und geben muß, da alles noch im alten, erhalte--da ich sie, sey es auch, was das Glück oder Unglück herbeygeführt, noch immer für meinen besten Freund halte, so habe ich den Erzherzog gebeten, daß sie sich in seinem Namen deshalb dey dem jezigen Rectorer U.[niversität] für mich verwenden mögten--wie auch dieses ausfalle, so biette ich sie mir baldmöglichst den Entschluß unseres gnädigsten Herrn bekannt zu machen, damit ich ferner suche, wie ich mich aus dieser fatalen lage für mich und meine Kunst herauswinde--diesen Abend komme ich zum Erzherzog
ihr Freund Beethowen"
"Beethoven to Baron Joseph Schweiger von Lerchenfeld
[Vienna, probably April 16, 1813][1]
Dear friend! today, I have asked the most gracious Lord, and that in writing, to arrange for me to receive the University Hall for 2 Academies that I think to give and that I have to give, since everything is still the same--since I still consider you my best friend, no matter what fortune or misfortune has brought, I have asked the Archduke that you will ask the present Rector of the University in his name--whatever the result may be, I ask you to let me know the decision of our most gracious Lord as soon as possible so that I can move on in my striving to free myself and my art from this fatal situation of mine--tonight, I am going to see the Archduke
Your friend Beethowen"
[Source: Ludwig van Beethoven, Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 636, p. 339; Original: Vienna, Society of the Friends of Music; to [1]: according to the GA, this refers to the fact that this letter was written on the same day as Letter No. 635; information taken from p. 339].
As Beethoven's next letter to Zmesakll shows, the use of the University Hall was refused to him, right away:
"Beethoven an Nikolaus Zmeskall
[Wien, 19. April 1813][1]
Der UniversitätsS.[aal] mein werther Z. ist -- abgeschlagen -- Vorgestern erhielt ich diese Nachricht, seit gestern krank konnte ich nicht zu ihnen kommen, und auch heute nicht, um die zu sprechen -- Es bleibt wahrscheinlich nichts, als das Kän[t]nerthor Theater oder das an der Vien, und zwar glaube ich nur eine A.[kademie]--geht das alles nicht, so müßen wir zum augarten unsere Zuflucht nehmen, dort müssten wir freylich 2 A.[kademien] überlegen sie mein lieber ein wenig mit, und theilen sie mir ihre Meynung mit -- Vieleicht werden mogen die sinfonien beim Erzherzog Probirt,[2] + wenn ich aus gehen kann. -- + welches ich ihnen zuwissen machen werde.
ihr Freund
Beethowen
Für Hr von Zmeskall Wohlgebohrn"
"Beethoven to Nikolaus Zmeskall
[Vienna, April 19, 1813][1]
The University Hall, my worthy Z., has been--refused--the day before yesterday, I received this news, since yesterday, I have been ill and could not visit you, and also not, today, in order to speak to you--Probably, all that remains are the Kärn[t]nerthor Theater or that an der Wien, and I believe only one A.[cademy]--if that does not work, then we have to resort to the augarten, there, of course, we have to consider 2 A.[cademies], my dear, think a bit along these lines with me and let me know your opinion--perhaps, tomorrow, the Symphonies will be rehearsed at the Archduke's[2] + if I can go out.-- + which I will let you know.
your friend
Beethowen
For Hr von Zmeskall, Esquire"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 638, p. 340-341; Original: Vienna, Austrian National Library; to [1]: refers to the dating of the letter according to the recipient's note; to [2]: refers to the rehearsal of Op. 92 and Op. 93 that only took place on April 21st; details taken from p. 341].
As we can see from Beethoven's lines to Zmeskall, he now had to try to secure for his Academy concert(s) one of the Vienna theatres or the Augartensaal.
One day before the rehearsal at Archduke Rudolph's, Beethoven also let Zmeskall know about it:
"Beethoven an Nikolaus Zmeskall
[Wien, 20. April 1813][1]
Ich danke ihnen derweil lieber Z. und melde ihnen nur, daß morgen Nachmittag Um 3 uhr die Probe von den sinfonien[3] und overture[3] beym Erzherzog seyn wird--doch werde ich sie morgen <Nach>Vormittag noch genauer davon unterrichten vor der Hand habe ich sie schon angesagt. --
ihr Beethowen"
"Beethoven to Nikolaus Zmeskall
[Vienna, April 20, 1813][1]
In the meantime, I thank you, dear Z., and let you know that tomorrow afternoon, at 3 o'clock, the rehearsal of the symphonies[3] and overture[3] will take place at the Archduke's--however, I will tell you more about it tomorrow morning, for now, I have at least let you know.--
your Beethowen"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 639, p. 341; Original: Vienna, Austrian National Library; to [1]: refers to the fact that the rehearsal took place on April 21, 1813; to [2]: refers to Op. 92 and op. 93; to [3]: probably refers to Op. 117, König Stephan; or to Ruinen von Athen, Op. 113; details taken from p. 341].
On the same day, Beethoven explained to Archduke Rudolph the reason for the latest delay of the rehearsals:
"Beethoven an Erzherzog Rudolph
[Wien, 20. April 1813][1]
Ihro Kaiserliche Hoheit!
Ich sehe, daß Baron Schweiger sie noch nicht von meinem gestrigen überfalle benachrichtigt hat, d.H. ich wurde plözlich von einem solchen fieber überfallen, daß ich gänzlich ohne Bewusstseyn war, ein Verwundeter Fuß mag dazu beygetragen haben, heute ist es Unterdessen Unmöglich auszugehen, morgen bin ich aber sicher hergestellt, und bitte also Ihro Kaiserl. Hoheit auf Morgen Nachmittag das Orchester[2] Um Dreyviertel auf 3 uhr bestellen zu laßen, damit die Herrn M.[usiker] desto zeitlicher kommen, und Zeit genug wird auch die 2 overturen[3] zu probiren, sollten das letztere I.K.H. wünschen, so brauchte ich 4 Hörner, bey den Sinfonien sind jedoch nur 2 d.g., zu der besezung der Sinfonien[4] wünschte ich wenigstens 4 Violinen, 4 Sekund 4 Prim, 2 Kontrabäse 2 Violonschel.. -- ich bitte nur mich gnädigst heute wissen zu laßen, was sie beschließen werden, kein größeres Vergnügen kann mir <se>Werden, als meinem Erhabenen Schüler meine Werke Hören zu machen, Gotte gebe ihnen nur bald ihre Gesundheit wieder, indem ich mich oft dehalb ängstige --
Ihro Kaiserliche Hoheit gehorsamster
ludwig van Beethowen"
"Beethoven to Archduke Rudolph
[Vienna, the 20th of April, 1813][1]
Your Imperial Highness!
I see that Baron Schweiger has not advised you, yet, of my yesterday's health incident, meaning that all of a sudden, I was attacked by such a fever that I was completely unconscious, my injured foot might have contributed to it; today, it is impossible for me to go out, but tomorrow, I will be completely restored, und thus I ask Your Imperial Highness to arrange for the orchestra[2] to be there tomorrow afternoon at a quarter to three, so that the musicians will arrive all the sooner and so that we will have enough time to also rehearse the two overtures[3], if Your Imperial Highness would wish the latter, I need 4 horns, for the Symphonies, however, only two are needed; for the Symphonies[4] I would wish at least 4 violins, 4 second ones, 4 first ones, 2 contrabasses, 2 violoncellos...--I only ask to graciously let me know today what You have decided, there can be not greater pleasure than to let my exalted student hear my works, God give that Your health will be restored, soon, for which I am often afraid--
Your Imperial Highness's most obedient
ludwig van Beethowen"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 640, p. 342; Original: Vienna, Society of the Friends of Music; to [1]: refers to the fact that the letter was written one day before the rehearsal, namely on April 20, 1813; to [2]: refers to the fact that the Archduke did not have an orchestra of his own, but that musicians from various institutions had to be engaged; to [3]: refers to the Overtures from Op. 113 and Op. 117; to [4]: refers to Op. 92 and Op. 93; details taken from p. 342].
One day after the rehearsal, Beethoven still had a great deal to discuss with Zmeskall:
"Beethoven an Nikolaus Zmeskall
[Wien, 22. April 1813][1]
Ich war schon bey ihnen lieber Z. obschon ihr bediente[r] sagte, daß sie gar nicht in die Kanzley[2] giengen, so halte ich dieses für einen Irrthum -- wissen sie schon etwas, könnte ich sie sprechen, wär's mir lieb, besonders wegen gestern[3], und der besonders schlecht mitspielenden, wobey Hr. Kraft sohn[4] obenan steht --
ganz ihr Beethowen
Für H.[errn] von Zmeksall Wohlgeborn"
"Beethoven to Nikolaus Zmeskall
[Vienna, the 22nd of April, 1813][1]
I already went to see you, dear Z. although your servant said that you did not go to the office[2] at all, I consider this to be a mistake--if you already know something, if I could speak to you, I would like that, particularly with respect to yesterday[3], and with respect to the particularly bad players, of which Hr. Kraft son[4] is the foremost--
entirely your Beethowen
For H.[err] von Zmeksall Well-born"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 642, p. 343; Original: Bonn-Beethoven-Haus; to [1]: refers to the dating of the letter according to the recipient's note; to [2]: refers to the fact that Zmeskall was a Secretary at the Hungarian Court Chancellery; to [3]: refers to the fact that on April 21, 1813, a big rehearsal of Beethoven's Symphonies Op. 92 and Op. 93 took place at the residence of Archduke Rudolph; to [4]: refers to the cellist Nikolaus Kraft, son of the cellist Anton Kraft, member of the ensemble of Prince Franz Joseph Maximilian Lobkowitz; details taken from p. 434].
Perhaps still on the same day Beethoven wrote to Zmeskall with respect to, in his eyes, still favorable information on his concert plans:
"Beethoven an Nikolaus Zmeskall
[Wien, wohl 22. April 1813[[1]
lieber Z! sollte ich sie noch heute gegen Abend sprechen können, so wär mir's sehr lieb, Mir scheint nicht, daß man auf solche Aüßerungen etwas unternehmen könne. Der Erzherzog sagte: "Wenn ich den Lobkowitz sehe, werde ich mit ihm sprechen" Zuvor sagte er, er glaube, daß es zu spät sey[2] -- leben sie wohl werden sie nicht unwillig.
ihr Beethowen"
"Beethoven to Nikolaus Zmeskall
[Vienna, probably the 22nd of April, 1813[[1]
Dear Z! If I could still speak to you tonight, I would like that, it does not appear to me that one can do something on account of such statements. The Archduke said: "When I see Lobkowitz, I will speak to him" Before he said that he believed that it was too late[2]--farewell and do not become unwilling.
ihr Beethowen"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 643, p. 344; Original: Vienna, Austrian National Library; to [1]: refers to the fact that this letter is connected to a planned Academy Concert in April 1813; to [2]: refers to the fact that the most favorable time for a benefit concert was Holy Week; details taken from p. 344].
Even on April 23, Beethoven was still hopeful:
"Beethoven an Nikolaus Zmeskall
[Wien, 23. April 1813][1]
lieber Z. Es Wird alles gut gehn, der Erzherzog wird diesen Fürst fizlipuzzly[2] Gehörig bey den Ohren nehmen -- laßen sie mir sagen, ob sie heute oder wann immer im Wirtshs Hesse essen[2] -- dann bitte ich sie mir ob "Sentivanny"[3] recht geschrieben ist, da ich an ihn auch zugleich um den chor schreiben will[4] -- Abreden muß ich auch mit ihnen welchen Tag wir aussuchen,[5] übrigens müßen sie sich von der Verwendung des Erzherzogs nichts merken laßen, denn erst Sonntags[6] kommt der Fürst Fizly puzly zum Erzherzog, merkte dieser böse schuldner etwas voraus, so würde er suchen auszuweichen --
ganz ihr
Beethowen"
"Beethoven to Nikolaus Zmeskall
[Vienna, the 23rd of April, 1813][1]
Dear Z. Everything will be alright, the Archduke will take this Prince fizlipuzzly[2] veritably by his ears--let me know whether you will dine at the Hesse Inn today or whenever[2]--the I ask you [to let me know] if "Sentivanny"[3] is spelled right since I want to write to him and also to the choir, at the same time[4]--I also have to discuss with you what day we should choose,[5] by the way, you must not let on about the Archduke's involvement, since only on Sunday[6] will Prince Fizly puzly visit the Archduke, if this terrible debtor should notice something beforehand, he would try to evade the situation--
entirely your
Beethowen"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 644, p. 344-345; Original: Vienna, Austrian National Library; to [1]: refers to the dating of the letter according to the recipient's note; to [2]: refers to Prince Franz Joseph Maximilian Lobkowitz; to [3]: refers, according to the GA, probably to Mark von Szen-Ivanyi, the Director of the New German Theatre in Pest; to [4]: probably refers to one of the choruses from Op. 113 or Op. 117; to [5]: refers to a possible date for the benefit concert in one of the theatres under the supervision of Prince Lobkowitz; to [6]: refers to April 25, 1813; details taken from p. 344-346].
On April 26, Beethoven received a positive answer but one that was not very useful:
"Beethoven an Nikolaus Zmeskall
[Wien, 26. April 1813][1]
Nach dem 15ten May oder wenn solcher vorbey will mir Lobkowiz einen Tag im Theater geben,[2] mir scheint, das ist so viel als gar keiner -- und fast bin ich gesonnen an gar keine Akademie mehr zu Denken -- der oben wird mich wohl nicht gänzlich wollen zu grunde gehen laßen --
ihr Beethowen"
Für Herrn von Zmeskall Wohlgebohrn"
"Beethoven to Nikolaus Zmeskall
[Vienna, the 26th of April, 1813][1]
After May 15th or when it is over, Lobkowitz wants to give me a day at the theatre,[2] it appears to me that is as much as no day--and I am almost inclined not to think of an Academy anymore, at all--the One up High will certainly not let me perish, entirely--
Your Beethowen"
For Herr von Zmeskall Well-born"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 645, p. 345; Original: Vienna, Austrian National Library; to [1]: refers to the dating of the letter according to the recipient's note; to [2]: refers to the fact that, the day before, Arhduke Rudolph had interevened on Beethoven's behalf, with Lobkowitz and that an Academy Concert that was to be held after May 15 did not look very promising, from a financial point of view, since at that time, a great deal of Viennese society would have left the city; details taken from p. 345].
After this, Beethoven was only left with the choice of an Augarten Concert. How would the Seventh Symphony fare with respect to that option?
"Beethoven an Ignaz von Baumeister
[Wien, 30. April 1813][1]
Ich ersuche euer Wohlgebohrn mir die Stimmen Von der Sinfonie in A sowie auch meine partitur zu schicken,[2] Seine Kaiserliche Hoheit können immer wieder <darü>diese M.[anuskripte] haben, jedoch brauche ich sie zu der Morgigen Augarten Musick[3] -- da ich eben ein Paar Billets erhalte, schicke ich ihnen selbe, und bitte sie Gebrauch davon zu machen
mit Achtung ihr ergebner
Ludwig Van Beetoven"
