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AGE 52 - 53 [1823]

Compiled by Gary D. Evans

Last Updated: March 25, 2019 7:51 PM

THE LAST DECADE

VIENNA - 1823 (Age 52)

THREE INSCRIPTIONS UNDER GLASS ON
HIS DESKTOP IN THESE LATER YEARS:

From Schiller's Die Sendung Moses, 'Moses' Mission,
a philosophical conte in an Egyptian setting [L. Dec p118]

-----------------------------------------------------------

* I am that which is.

* I am everything that is, that was, and that will be.

No mortal man has lifted my veil.

* He is of himself alone, and it is to this aloneness

that all things owe their being.

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CHARACTERIZATIONS OF HIS LATE STYLE:

  • A highly concentrated exploration of counterpoint and polyphonic textures
  • Containing a serious interest in Bach and Handel [Anderson Letter #955]
  • Having a new awareness of church modes - utilizing baroque-style "theme types" w/ specific symbolic meanings
  • A return toward instrumental recitative
  • Preclassic richness of ornamentation for expressive purposes
  • Heightened preoccupation w/ monothematic development and variation procedures e.g. Use of trill w/ increased emotion
  • Use of simple material to contrast and reveal Aggr. dotted rhythmic polyphonic textures leading to irresistible motion & unbearable strain.
  • Per Kidderman - This style can be interpreted as an attempt to unify binary tension between: "personal suffering and celestial ... and
  • The aesthetic world enlarged to embrace the anaesthetic - the world beyond"

Beethoven continued to create masterpiece after masterpiece during this period, despite bouts of crippling illness. His brother Johann helped with managing his business dealings and helped augment Beethoven's income through negotiation and finding older works that could be published.


Stieler - 1819-1820 (Oil)


WORKS CREATED

op 120: Diabelli Variations Copy for Ries dated April 30th. It and the Missa worked on during 11-12/1822 w/ most of Diabelli done & completed 1823.) (B. vacillated between ded. to Antonie Brentano or Ries - Antonie in the end.
op 123 Missa Solemnis completed (Ded. & handed to Rudolph Mar 19th) (Considered by B. best work to date)
op 125: 9th symphony in d (Intensive work started in May) Begun 1817 with intensive work in May. All but the 4th movement was completed 1823 and the work completed in 1824

2nd movement completely sketched by August. Fugal themes of 1815-17 extended and final details elaborated in sketch books of this year [L. Decade pg279]

3rd movement (adagio) completely sketched by the end of October 1823 [L. Decade pg279]. The second of the 2 themes (Andante Moderate D major) appeared in sketch books long before the first (Bb Adagio) and was initially conceived in A major.

Introductory themes: 1st related to that used in op132; 2nd theme related to the 1st movement of the symphony; 3rd belongs to the 18th century divertimento; 4th has a nervous, jerky character.
WoO 106: Birthday Cantata "Lobkowitz cantata" For Lobkowitz's son Prince Ferdinand's 26th Birthday. Apr 12th)
WoO 151: Song "Der edle Mensch sei hilfreich und gut"  
WoO 183: 4 part canon (short) "Bester Herr Graf, Sie sind ein Schaf!" (Feb20) (For Count Moritz Lichnowsky, for whom op 90 was dedicated)
WoO 184: Musical greeting: 5 part canon "Falstafferel, lass' dich sehen" Sent to Schuppanzigh Apr 26th, just after his return from Russia
WoO 185: 2 6 pt canons in E & Eb "Edel sei der Mensch" (May)
WoO 202: Musical motto "Das Schone zu dem Guten" (set to music)
Unclassified: Mass in #c (1823-24) (incomplete)

BIOGRAPHICAL NOTES

DATE
????
Letter to Archduke Rudolph: "There is no loftier mission than to come nearer than other men to the Divinity, and to disseminate the divine rays among mankind" [L. Dec p118]
Jan 1
B. applied to become Imperial & Royal Chamber Music Comp. succeeding Anton Teyber (1754-1822); post was abolished.
Jan 7
B. mentioned in letter to Griesinger that he planned to offer the Missa as manuscript copies for sale to all European courts rather than publishing it for a fee.
Jan 23
Subscription invitations to Missa sent out resulting in 10 subscribers.
Jan 25
B. agreed to write series of quartets for Galitzin at 50 Ducats per quartet promising to have them ready by mid-March.
Feb
Debt and a threatened law suit by Steiner forced B. to sell one of his 8 bank shares.
Feb 8
Beethoven wrote to Goethe regarding the Missa Solemnis
Feb 8
Beethoven sent Peters some long promised scores - op121b, 122, 128 (Songs), op119#1-6 Bagatelles and 1 or the 4 marches WoO 18-20,24 (?which ones?)
Feb 15
The remaining 3 of 4 marches WoO18-20,24 sent to peters (?which ones?)
Feb 25
Beethoven sent scores of the Overture to Die Weihe des Hauses along with Bagatelles op119 to Ries for publication in London. Beethoven began planning for a visit to London the next year (1824) - plans were later canceled.
Feb 28
Publication announcement for Overture to Die Ruinen von Athen
Mar
Diabelli offered Beethoven 1000 fl CM for the Missa Solemnis but with stipulation that it could be immediately published (which would have interfered with Beethoven's plans to sell it on a subscription basis).
Mar 4
Peters returned the music sent to him 2-3 weeks earlier stating that the work was not up to Beethoven's usual quality and that examples of higher quality should be sent instead.
Mar 6
B. nominated Karl as the legal heir to all of his property and possessions.
Mar 19
Presentation copy of the Missa Solemnis given to Archduke Rudolph
April
Piano Sonata op111 published by Schlesinger
April 10
Weber received score of Fidelio in Dresden for performance there which was well received.
April 12
Beethoven composed a Cantata, WoO 106, for Prince Ferdinand Lobkowitz (Son of Beethoven's friend and patron) on his birthday
Apr 13
Liszt, age 11, gave a recital most likely attended by B. (Note: according to Martin Cooper in L. Dec p56 - B. sent Karl]
Apr 25
Letter to Ries: "The Cardinal's (Archduke Rudolph) sojourn here for four weeks, when I had to give him two and a half or even three hours of lessons each day, robbed me of a great deal of time. After such lessons one is hardly able to think the next day, much less compose." "My permanently depressing situation, however, demands that I write just now whatever brings me enough money for my immediate needs. What sad disclosures you are hearing!! Now, because of the many troubles I have been enduring, I am not well; even my eyes are sore! However, do not worry. You will receive the symphony shortly; really only this miserable situation is at fault. - Within a few weeks you will also receive 33 new variations on a theme (Waltz, Opus 120), dedicated to your wife." [Wegeler/Ries p136] ?? Verify - single letter ??

In the same letter (?), Beethoven asked Ries to have Piano Sonata op111 published immediately. (On the same day the letter was sent, the work had already been entered at Stationers Hall (Clementi edition sent to Ries earlier).
April 26
Beethoven sent a musical greeting WoO 184 to Schuppanzigh who had just returned from Russia
April 30
Diabelli variations completed - Ries' copy dated April 30
May
Split w/ Schindler (? correct date for this: letter to Schindler "As for the question of 'being noble', I think I have given sufficient proof to you that I am so on principle.")
May
Thru Aug13: Hetzendorf - a guest at the Villa of Baron Sigismund von Tot Pronay (a gentleman in waiting at the court), 32 Hetzendorfer Hauptstrasse (now 75a Hetzendorferstrasse) [ref #83 G.v.Breun p129 (The Baron was overly neglectful of B. w/ freq. bowing, etc. which B. found tedious. Pronay had asked B. to avoid making noise in the one room above his won bedroom. After a while B. did the opposite - perhaps to lead to a reason for this leaving which he did Aug 13th to Baden [L.Dec. p54]
May
Intensive work on the 9th Symphony begun and continued through 1824
June-Sept
B.suffered eye probs - gradually resolved. (Shunned light, covered eyes at night.
June 3
Bagatelles op119 (Clementi's edition entered at Stationers Hall
June 14
Schuppanzigh resumed a series of recitals of Beethoven's quartets (with Holz, Weiss, and Linke)
June 16
Publication announcement for Diabelli variations
June-late
Diabelli reprinted Piano Sonata op111 containing several corrections made by Beethoven.
Summer
B. became angry w/ Theresa, Johann's wife, feeling she & her daughter (that B. referred to as "Fatlump" & "Little Bastard") were neglectful of Johann during an illness at the time. In addition, B. suspected Theresa of having a lover in the house (given later writings of Johann referring to legal note about her, this probably occurred). As evidence of the negative intensity B's relationship to Theresa, Schindler wrote in a conv. book at this time: "...the nurse said the mistress was standing in the hall w/ the poker and waiting for you, intending to receive you with it. I was terrified by this atrocious behavior and did not know what to do, except to keep you away by excuse that your brother wanted to sleep." L.Dec p53]
Aug 6
Wenzel Schlemmer-B's chf.copyist x25y died
Aug 13
Through Oct: Baden, Rathausgasse 94
Aug ?
B. wrote to Archduke Rudolph complaining of a cold, eye troubles and intestinal distress [L. Dec p56] which gradually lessened by Autumn.
Aug 29
Karl left Blochlinger's Institute after passing exams; returned to B's home before entering the univ. (at age 17). Spent the rest of the Sum. w/ B. in Baden
Sept 5

Letters to Ries:

"You say that I ought to look around for someone to attend to my affairs. Well, that is the very thing that I did in the matter of the variations -- I mean my friends and Schindler looked after them for me, but alas! how badly. The variations were to appear first of all in Vienna after they had been published in London. But everything went wrong. The dedication to Brentano was only to apply to Germany. I was under a great obligation to her and would publish no other work at the time. In any case only the Viennese publisher got these variations from me. But everything went through Schindler's hands. I have never met a more wretched fellow on God's earth, an arch-scoundrel whom I have sent packing..." [L. Decade pg.205]

"...My fine brother (Johann), who keeps a carriage, wanted to be pulled along by me as well and so offered this particular overture [Consecration of the House op124 in C] to a publisher - Boosey in London - without asking me. Say merely that, concerning the overture, my brother was mistaken - He bought it from me in a profiteering spirit, I would say. O frater!" ... "...If my upcoming treatment at the spa improves my health at all, I shall kiss your wife in London in 1824. Ever yours, Beethoven" [Wegeler/Ries p138]

Sept-lte
Evidence that hearing had improved for a time - appeared to hear without an ear trumpet J.R. Schulz, a visiting Englishman. [L. Dec p55]
????
B. feeling out of tune w/ Viennese musical tastes made inquiry to Berlin about 1st perf. of 9th symphony there. Lead to document from friends/musicians of Vienna 1824 requesting 1st performance in Vienna.
Autumn
Beethoven had talks with Grillparzer about a proposed opera - nothing came of this
Autumn
Moritz Schlesinger published Bagatelles op119 in an edition copied from Clementi's which disallowed Beethoven's plans to sell #1-6 to a continental publisher.
Oct-late
Bernard provided Beethoven with a long awaited oratorio text 'Der Sieg das kreuzes' but Beethoven was dissatisfied with it.
Oct 5
Weber visited along w/ his student Julius Benedict. Warmth expressed between them & B. stated he appreciated Weber's work (in earlier years he had not). Weber related that B. said to him "...You're a devil of a fellow! A good fellow!". Weber went on to say: "...this rough, repellent man actually paid court to me, served me at table as if I had been his lady." [L. Dec p55]
Oct -end
\ B. returned from Baden to Vienna to Haus Zur Schonen Sklavin (3rd fl), corner of Bcokgasse & Ungargasse, through May 1824 (now Ungargasse 5), w/ Karl who entered the Univ. while living w/ B. (Karl moved Easter 1824 when he left the Univ. & B's home for the Polytecnic Institute.)
Oct - end
According to Schindler, upon Beethoven's return the idea of how to include a choral finale to the 9th symphony occurred to him "...one day he entered the room exclaiming 'I have it! I have it! and showed me the sketchbook with the words "Let us sing the song of the immortal Schiller -- 'Freude' ", whereupon a solo voice immediately begins the hymn to joy." [L. Decade pg 279]
Dec
Commissioned to write 3 string quartets by Galitsin [L. Dec p58]