A thousand apologies from Vienna and a thousand thanks for your delightful invitation to Leipzig. I was very sorry not to be able to follow my inward impulse to go there and visit the surrounding country. But this time I have been busy in all directions. The Hungarian Diet is sitting; and already people are foretelling that the Archduke is to become Primate of Hungary and resign the Bishopric of Olmütz. I myself am suggesting to His Imperial Highness, who as Primate of Hungary would have an income of not less than three million, that he should just appropriate for me a million a year (and for all the good votaries of music, of course, whom I would then employ along with myself). At Teplitz I received no further news, because no one knew anything about my plan to travel still farther. So I thought it better in view of the journey which I had planned and of the affection I cherish for the Archduke to give way in the end to this feeling, despite my great unwillingness to do so, the more so as my help was required in connexion with the celebrations. Hence having chosen the pro --- I dashed back to Vienna, and the first thunderclap I heard was that it had been suddenly decided that my most gracious lord was not going to become entangled with priests and clerics, and that nothing was to come of the whole business after all –
He is to be made a General and, what is more, quite soon (as you know); and I am to be Quartermaster-General for that battle which I am determined not to lose – What do you say to that? Another event for me was provided by the Hungarians. Just as I was getting into my carriage to drive to Teplitz I received a parcel from Ofen with the request to compose something for the opening of the new theatre at Pest. Well, after spending three weeks at Teplitz I felt fairly well. So, although my doctor had forbidden me to work, I sat down to do something for those moustachios who are genuinely fond of me; and on September 13th I sent off my parcel to them in the belief that the performance was to take place on October 1st. Meanwhile the entire affair has dragged on for more than a whole month. Owing to misunderstandings I did not receive until after my return to Vienna the letter informing me of this postponement; and yet that theatrical event had decided me to go back – However, postponed is not abandoned. Besides, I have had a taste of travelling, and it has done me a great deal of good; and already I would like to start off on another trip – I have just received the ‘Lebewohl’ and so forth. I see that after all you have published other c[opies] with a French title. Why, pray? For ‘Lebewohl’ means something quite different from ‘Les Adieux’. The first is said in a warm-hearted manner to one person, the other to a whole assembly, to entire towns – As you have had my works reviewed so abominably, you too must suffer for it. Moreover you would have required far fewer plates and would thus have simplified the turning over which has now been made so very difficult. Well, let us say, basta – But, in the name of Heaven, why the dedication of my fantasia with orchestra to the King of Bavaria? Do let me have a reply about this at once. If you intended by so doing to pave the way for an honourable present to me, well then, I am prepared to thank you for it. But, if not, such a dedication does not suit me at all. Perhaps you made it yourself? I really can’t get the hang of this. Why, we are not supposed to dedicate anything whatever to Kings without first asking for their permission – Moreover the ‘Lebewohl[ was not dedicated to the Archduke; and why did you not print the year, the day and the date exactly as I wrote them down? In future you will let me have it in writing that you are going to retain all the headings unaltered and exactly as I inserted them – Arrange for the oratorio [Opus 85], and in general everything else, to be reviewed by whomever you like. I am sorry that I wrote a single word to you about those wretched r[eviews]. Who would bother his head about r[eviewers] of that type when he sees how just such wretched r[eviewers] extol the most contemptible bunglers and how, on the whole, they deal with works of art in the most insulting manner and, admittedly, are bound to do so, seeing that they are so clumsy, and, unlike the cobbler with his last, fail to discover and apply at once the appropriate standard of excellence – The only point to consider in connexion with my oratorio [Opus 85] is that it was my first work in that style and, moreover, an early work, and that it was written in a fortnight and during all kinds of disturbances and other unpleasant and distressing events in my life (my brother happened to be suffering from a mortal disease).
If I remember rightly, even long before the work was given to you to be engraved, Rochlitz did not comment favourably on the C major chorus of the disciples, ‘Wir haben Ihn gesehen’.. He called it comic al, a reaction which in Vienna at any rate not a should in the audience displayed; and yet some of my friends are critics too. But what is quite certain is that now I should compose an absolutely different oratorio from what I composed then – Well, you may go on reviewing as long as you like; and I wish you much enjoyment. Even if the composer feels something like a gnat biting him, well, the pain is soon gone; and when the engraving has been done, there is something really pleasant to enjoy. You can’t go on re – re – re – re – re – vi – vi – ew – ew – ew – ew – ing – ing – ing to all eternity, that you can’t do. So now God be with you –
In the oratorio there is a passage where in the engraving the horns should be entered on two staves, that is to say, the second horn is in the bass clef, but the first horn is in the treble. Your proof-reader will easily find the passage. In any case everyone should have more than one key, even if he neither opens nor locks anything [Anderson footnote: “Beethoven is playing on the word ‘Schlüssel’, which means ‘key’ and ‘clef’.”] – I am going to send you a letter for Kotzebue with a request that you forward it to his present address – Furthermore, someone for whom I want to save the postal expenses will send you from Berlin his letters, which you will then kindly forward to me in Vienna. I am sure you will not be annoyed with me for making this arrangement. As for the postage fees, I will refund them at once, as soon as you send me your account – Well, may Heaven protect you. I hope to see and talk to you soon. From this remark you will gather that I am firmly resolved to travel – My best compliments to the Saxon, and, in particular, to the Leipzig, lovers of music in return for their goodwill to me, about which I have heard so much; and also many thanks to the musical artists, of whose worthy zeal on my behalf I have also heard.
Your
Ludwig van Beethoven
When is the Mass going to appear? [Opus 86, published October, 1812] –
“ “ Egmont “ “ “ ? [Opus 84, overture published 12/1810; songs, etc. published 1/1812]
Do send Goethe the whole score copied out, if necessary, at my expense (the score, I mean). How can a German publisher be so discourteous, so rude to our leading German poet? Make haste, therefore, and send the score to Weimar.
As to the Mass, the dedication might be altered. The lady is now married, so the name would have to be changed accordingly. Hence the dedication can be omitted for the moment. Just let me know when you are publishing it; and then no doubt I shall find a saint for this work –