"MIDDLE (1803-1813) PERIOD"

- Vienna 1805 (Age 34 years) -

Beethoven returned from Heiligenstadt (October 1802) a changed man. A change in his musical style was present. Per Carl Czerny, Beethoven remarked, "I am not satisfied with the work I have done so far. From now on I intend to take a new way." The coming works took on a grand scale, the first of which was his Third Symphony, the "Eroica."

MEDICAL: Beethoven continued to seek medical advise and treatment for his severe ailments including his now marked hearing loss associated with tinnitus. He was thereby not able to keep up with conversations, especially in noisy environments, causing him to withdraw from those settings. In addition, he found that he could not adequately perform, which led him increasingly toward composition as a means of income rather than performance.

image from 1806

CREATIVE / FINANCIAL: Despite his suffering, Beethoven's compositions continued to advance his fame and standing. He continued to teach a few students, including Ferdinand Ries, and Carl Czerny (who later offered the premier performance of Beethoven's 5th piano concerto "the Emperor" on February 11, 1812).

Beethoven continued to support himself through wealthy patrons and from the publishing of his works. In addition, he held a position at the Theater an der Wien, but this was ended when management changed hands in 1804. This forced him to move to the suburbs of Vienna, there sharing rooms with his longtime friend, Stephan von Breuning.

Beethoven's brother Carl began helping his brother in handling the business end of things, enabling Beethoven to receive greater financial return for his work.

Archduke Rudolph, the youngest son of Emperor Leopold II studied piano and composition with Beethoven beginning in the winter months of 1803. The Archduke offered significant financial support to Beethoven and the two became lifelong friends. Fourteen of Beethoven's works were dedicated to Rudolph, including the Archduke Trio (1811), the Missa solemnis (1823), etc.

ROMANTIC: Beethoven fell deeply in love with the Brunsvik's youngest daughter, Josephine. She, in turn returned his affection, but - in the end she later married Count Josef Deym, a happy marriage but one that lasted only a short time with his sudden death in 1804. Many love letters were written to her over the years 1804-1805 and beyond (see Anderson's Letters from those years), but by 1807 - under pressure from her family and with the knowledge that her ongoing relationship with Beethoven could result in the loss of her children, she withdrew from him. Three years later, 1810, she married Baron von Stackelberg.

MUSIC: Beethoven's music was influenced by French heroic style during these years. A four note motto was often used, e.g.: Harp quartet, 4th piano conc., Appassionata, 5th symph. Key of c was now used to express the heroic rather than pathos (e.g., 5th sym). The 4 notes are never twice used in the same way however.

POLITICAL CLIMATE: A police state existed at this time and Love for the Kaiser was mixed with dread of the secret police. There was a sense of fear and uncertainly following the Hapsburg submission to Napoleon (following the defeats of 1797-1809) along with a sense of national impotence since the death of Joseph II; with his death there was a diminished hope for the enlightened despotism he had espoused.

In this era of failed political nerve and a decrease in outward concern for the human condition, music became an expression of these uncensorable statements. The High Classic style was not trivial but expressed a utopian ideal. Womanhood was Idealized and a commercialized view of sex and marriage obtained. The greater works of Mozart, Haydn and early Beethovencontradicted Viennese life where gaiety disguised a sense of loss, courtly grace was penetrated by brusque and dissonant elements. Fantasy was mixed with profound expression. Bonaparte's image actually replaced Christ's in many homes in Europe. Beethoven rejected hierarchical orthodoxy in liturgical and in secular life and so had conflicts with Bonaparte in terms of his image as a hero and the reality of his brutality and repression.

"My companion, familiar with the customs of the house, looked much annoyed and murmured: 'Tea is over. I am afraid your hesitation has created a very delicate situation for our stomachs."

"We were led into a music-room with silken draperies, fitted out with chandeliers lavishly supplied with candles. On its walls rich, splendidly colorful oil paintings by the greatest masters, in broad, glittering golden frames bespoke the lofty artistic instincts as well as the wealth of the princely family owning them. We seemed to have been expected; for Mayer had told the truth: tea was over, and all was in readiness for the musical performance to begin.

The Princess, an elderly lady of winning amiability and indescribable gentleness, yet as a result of great physical suffering (both her breasts had been removed in former years) pale and fragile, already was sitting at the piano. Opposite her, careliessly reclining in an arm-chair, the fat Pandora-score of his unfortunate opera across his knees, sat Beethoven. At his right we recognized the author of the tragedy 'Coriolan,' Court Secretary Heinrich von Collin, who was chatting with Court Counsellor Breuning of Bonn, the most intimate friend of the composer's youth. My colleagues from the opera, men and women, their parts in hand, had gathered in a half-circle not far from the piano. As before, Milder was Fidelio; Mlle. Muller sang Marzelline; Weinmuller, Rocco; Cache the doorkeeper Jaquino; and Steinkopf the Minister of State.

After I had been presented to the Prince and Princess, and Beethoven had acknowledged our respectful greetings, he placed his score on the music-desk for the Princess and - the performance began."

"The two initial acts, in which I played no part, were sung from the first to the last note. Eyes sought the clock, and Beethoven was importuned to drop some of the long-drawn sections of secondary importance. Yet he defended every measure, and did so with such nobility and artistic dignity that I was ready to kneel at his feet. But when he came to the chief point at issue itself, the notable cuts in the exposition which would make it possible to fuse the two acts into one, he was beside himself, shouted uninterruptedly 'Not a note!' and tried to run off with his score. But the Princess laid her hands, folded as though in prayer, on the sacred score entrusted to her, looked up with indescribable mildness at the angry genius and behold - his rage melted at her glance, and he once more resignedly resumed his place.

The noble lady gave the order to continue, and played the prelude to the great aria: In des Lebens Fruhlings - tagen. So I asked Beethoven to hand me the part of Florestan. My unfortunate predecessor, however, in spite of repeated requests had not been induced to yield it up, and hence I was told to sing from the score, from which the Princess was accompanying at the piano. I knew that this great aria meant as much to Beethoven as the entire opera, and handled it from that point of view. Again and again he insisted on hearing it - the exertion well-nigh overtaxed my powers - but I sang it, for I was overjoyed to see that my presentation made it possilbe for the great Master to reconcile himself to his misunderstood work."

"Midnight had passed before the performance - drawn out by reason of many repetitions - at last came to an end. 'And the revision, the curtailments?' the Princess asked the Master with a pleading look." " 'Do not insist on them,' Beethoven answered sombrely, 'not a single note must be missing.'

'Beethoven,' she cried with a deep sign, 'must your great work then continue to be misunderstood and condemned?' " " '

It is sufficiently rewarded with your approval, your Ladyship,' said the Master and his hand trembled slightly as it glided over her own."

"Then suddenly it seemed as though a stronger, more potent spirit entered into this delicate woman. Half-kneeling and seizing his knees she cried to him as though inspired: 'Beethoven! No - your greatest work, you yourself shall not cease to exist in this way! God who has implanted those tones of purest beauty in your soul forbids it, your mother's spirit, which at this moment pleads and warns you with my voice, forbids it! Beethoven, it must be! Give in! Do so in memory of your mother! Do so for me who am only your best friend!' "

"The great man, with his head suggestive of Olympian sublimity, stood for many moments before the worshipper of his Muse, then brushed his long, falling curls from his face, as though an enchanting dream were passing through his soul, and, his glance turned heavenward full of emotion, cried amid sobs: 'I will - yes, all - I will do all, for you - for my your - for my mother's sake!'

And so saying he reverently raised the Princess and offered the Prince his hand as though to confirm a vow. Deeply moved we surrounded the little group, for even then we all felt the importance of this supreme moment."

"From that time onward not another word was said regarding the opera. All were exhausted, and I am free to confess that I exchanged a look of relief not hard to interpret with Mayer when servants flung open the folding-doors of the dining-room, and the company at last sat down to supper at plentiously covered tables. It was probably not altogether due to chance that I was placed opposite Beethoven who, in spirit no doubt still with his opera, ate noticeably little; while I, tormented by the most ravenous hunger, devoured the first course with a speed bordering on the ludicrous.

He smiled as he pointed to my empty plate: 'You have swallowed your food like a wolf - what have you eaten?' 'I was so famished,' I replied, 'that to tell the truth, I never noticed what it was I ate.'

'That is why, before we sat down, you sang the part of Florestan, the man starving in the dungeon, in so masterly and so natural a manner. Neither your voice nor your head deserves credit, but your stomach alone. Well, always see to it that you starve bravely before the performance and then we will be sure of success.'

"All those at the table laughed, and probably took more pleasure in the thought that Beethoven had at last plucked up heart to joke at all, rather than at his joke itself." [B.-Imp's by his Contemp. p60-5]

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