 Angels Making Music. Around 1510 Matthias Grünewald from the Isenheim Altar (Colmar, Alsace, France: Unterlinden-Museum) |
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BEETHOVEN'S MISSA SOLEMNIS
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Angels Making Music. Around 1510 Matthias Grünewald from the Isenheim Altar (Colmar, Alsace, France: Unterlinden-Museum) |
In the section that you just left behind, temporarily, we referred to Beethoven's sacred works that he had composed before the Missa solemis, and in doing so we also pointed out that, perhaps, the challenges he faced in his crisis years of 1800-1802, might also have found their reflection in them. Let us take a closer look at these works and let us try to find answers to this question.
THE GELLERT-LIEDER, OP. 48
To these, Thayer (p. 341) writes that they were dedicated to Count Browne and, as Kinsky-Halm (p. 113) wonders, might have been commissioned after the death of Countess Browne. Thayer (p. 342) indicates that both their completion and their first publication by Artaria in Vienna took place in the year 1803.
Before we feature a contemporary criticism from the Leipzig Allgemeine Musikalische Zeitung, we also want to give those of you who read some German an opportunity to take a look at the (Christian Fürchtegott) Gellert Text that Beethoven selected for 'his' Lieder:
1. Bitten
Gott, deine Güte reicht so weit,
So weit die Wolken gehen,
Du krönst uns mit Barmherzigkeit
Und eilst, uns beizustehen.
Herr! Meine Burg, mein Fels, mein Hort,
Vernimm mein Flehn, merk auf mein Wort;
Denn ich will vor dir beten!
2. Die Liebe des Nächsten
So jemand spricht: Ich liebe Gott,
Und haßt doch seine Brüder,
Der treibt mit Gottes Wahrheit Spott
Und reißt sie ganz darnieder.
Gott ist die Lieb, und will, daß ich
Den Nächsten liebe, gleich als mich.
3. Vom Tode
Meine Lebenszeit verstreicht,
Stündlich eil ich zu dem Grabe,
Und was ist's, das ich vielleicht,
Das ich noch zu leben habe?
Denk, o Mensch, an deinen Tod!
Säume nicht, denn Eins ist Not!
4. Die Ehre Gottes aus der Natur
Die Himmel rühmen des Ewigen Ehre;
Ihr Schall pflanzt seinen Namen fort.
Ihn rühmt der Erdkreis, ihn preisen die Meere;
Vernimm, o Mensch, ihr göttlich Wort!
Wer trägt der Himmel unzählbare Sterne?
Wer führt die Sonn aus ihrem Zelt?
Sie kommt und leuchtet und lacht uns von ferne
Und läuft den Weg gleich als ein Held.
5. Gottes Macht und Vorsehung
Gott ist mein Lied!
Er ist der Gott der Stärke,
Hehr ist sein Nam'
Und groß sind seine Werke,
Und alle Himmel sein Gebiet.
6. Bußlied
An dir allein, an dir hab ich gesündigt,
Und übel oft vor dir getan.
Du siehst die Schuld, die mir den Fluch verkündigt;
Sieh, Gott, auch meinen Jammer an.
Dir ist mein Flehn, mein Seufzen nicht verborgen,
Und meine Tränen sind vor dir.
Ach Gott, mein Gott, wie lange soll ich sorgen?
Wie lang entfernst du dich von mir?
Herr, handle nicht mit mir nach meinen Sünden,
Vergilt mir nicht nach meiner Schuld.
Ich suche dich, laß mich dein Antlitz finden,
Du Gott der Langmut und Geduld.
Früh wollst du mich mit deiner Gnade füllen,
Gott, Vater der Barmherzigkeit.
Erfreue mich um deines Namens willen,
Du bist mein Gott, der gern erfreut.
Laß deinen Weg mich wieder freudig wallen
Und lehre mich dein heilig Recht
Mich täglich tun nach deinem Wohlgefallen;
Du bist mein Gott, ich bin dein Knecht.
Herr, eile du, mein Schutz, mir beizustehen,
Und leite mich auf ebner Bahn.
Er hört mein Schrei'n, der Herr erhört mein Flehen
Und nimmt sich meiner Seele an.The following contemporary review by the Allgemeine Musikalische Zeitung provides us with an opportunity to become acquainted with the spiritual and musical content of the work:
"No. 36 -- June 6, 1804
Six Lieder by Gellert, to be sung with piano accompaniment, (dedicated by) Ludwig van Beethoven to Count Browne. In Bonn, by Simrock. (Price 19 Gr.)
It can not be denied--the greater part of (our) readers will think that it is rather peculiar to find six Gellert Lieder (songs) not only newly composed by Hr. B. but also see them removed from their original context and set to instrumental music and performed more or less freely. Gellert's Lieder, one will say, have their main advantage in the fact that, as even the pious composer admitted, that most of them are adapted so well to the old chorale melodies, so that they can not be separated from them without loss; the rest of them, at least, have all something so sacred in their style and form that one can not treat them more freely than Bach did--and what else one might want to add along these lines. All of this might, of course, not be said without good reason, so that one should have assumed that an educated musician would not have com up with the idea, except in circumstances in which the acquaintance with newer literature is almost made impossible. And yet, this little work now exists, and it might be best to consider how it is set out. After all, much in it has turned out very good or even excellently, so that, with respect to some of these Lieder, we can not say that we would, out of the entire array of newer collections, with respect to their musical content and with respect to the emotions expressed in them that arise out of the poetry, prefer any over them. The entire overall meaning, which is actually the germane field of the musician, has always been properly understood and reflected, with the exception that, where the content (as, for example, in No. 2 "So Jemand spricht, ich liebe Gott"--) almost entirely refers to Christian teachings--which Lied should not have been chosen, at all and which is the one that has turned out the worst, by far, for which reason we do not want to mention it, any further. However, the rhetoric content turned out well for Hr. B., almost everywhere: in his musical imitation of the construction of the poem in general and in particular, with respect to declamation, accentuation etc., whether the composer merely followed his genius or whether he reflected on it. Moreover, execution and music have been very well adjusted to each song's particular character--with the exception of no. 5, "Gott is mein Lied", the song or lied that has received the least impressive, nay, even meager, music that, after all, has to be repeated f i f t e e n t i m e s and that does not fit very well to some strophes, such as 8 and 9. However, drawing one's attention to the remaining four is a true enjoyment.
"Gott deine Güte reicht so weit", has been well-thought-through and written in a simple, almost chorale-like style in the melody, but with a moving, important bass and and achieves the intended effect if the latter is well elevated and if the long, firm #, p. 3, line 1, is well motivated in the singing voice by crescendo and descrescendo. However, of a better flow and by far more original is no. 3, "Meine Lebenszeit verstreichet", in f-sharp minor. Here, there truly reigns the mind of a genius and sets aside anything that one might want to say with respect to minor details. Instead of all analysis, one should take a look at the following main passage: who can not recognize greatness, particularly in the gradually ascending of the melody and, after it, of the bass, but still more in the wealth of excellent harmonic progressions and in the careful weighing of the strength of the tones, that is heightened into eeriness, or who could wish for something general and less defined, since this music, of course, is not quite suitable to all strophes?
(Note Sample)
A wonderful side-piece to this lied is the: "die Himmel rühmen des Ewigen Ehre," and we would have to repeat of it all the advantageous that has been said about the former, yet applied to the serene character of its firm pathos, if one would still require to do that in the case of something that is perfect, by itself, rather than just pointing it out. Who will not be moved by music, particularly from this passage on: Wer trägt der Himmel unzählbare Sterne--up to the end, will hardly be moved by any music with the exception of trumpets and kettle-drums. Finally, to no. 6, each strophe has received its own music, yet in such a manner that the composer, with great care, a good eye and the right touch, repeats the main ideas of the melody in other contexts, where it is appropriate. However, where this plaintive song of remorse (An dir allein hab' ich gesündigt) moves on and changes into a trusting, softer plea (Früh wolltst du mich mit deiner Gnade füllen) and where the heart dares to move on to more calming images and to more reassuring feelings: there, the composer moves on to C major and, after a very good, introductory and preparatory prelude, moves on into a new music that becomes ever more serene though the rich and figured accompaniment, of which one would, however, rather wish that it was not held in the style of ordinary piano variations, which, however, performed with a grain of salt, does not hurt the overall meaning and form of the work, so that at its conclusion there will remains something of that which the poet had intended.
Etching, paper and the entire appearance of this valuable little work are very good."
With respect to this edition we can add that it was soon followed by a Bonn edition by Simrock. What is more relevant to us, however, is the impression that this review conveys, namely that, at least to some extent, in these songs, Beethoven's challenges of his crisis years might have found some reflection. The following links offer you access to listening samples for a more vivid impression of what has been discussed, above. Those who read German well might also wish to take a look at the Link List of the FU Berlin, while we will move on to discussing the second sacred work that Beethoven composed in 1803.
THE ORATORIO "CHRIST ON THE MOUNT OF OLIVES" OP. 85
With respect to this work, Thayer (p. 328) reports that an immediate result of Beethoven's employment by and at the Theater an der Wien in the winter of 1803, was an opportunity to hold a concert at this theater, for which he composed his oratorio Christ on the Mount of Olives. Thayer adds that sketches to this composition can be found in the so-called Wielhorsky sketchbook [that, at the time of the publication of the Thayer-Forbes edition of 1964, was in Russia], namely in its second half, where one can find work on the introduction and on the first five sections. As Thayer further reports, Lenz pointed this out, first, then Ludwig Nohl in Beethoven, Liszt, Wagner (Wien, 1874), and later Boris Schwarz in his Beethoveniana in Russia, MQ (1961), p. 4-9.As author of the text of the oratorio, Thayer mentions Franz Huber and, in this context, refers to Beethoven's letter of January 23, 1824, to the Gesellschaft der Musikfreunde, from which we might quote the relevant passage directly and then provide you with our translation of it:
"christus am Öhlberg ward von mir mit dem Dichter[11] in Zeit von 14 Tägen geschrieben, allein der dichter war Musikalisch u. hatte schon mehreres für Musik geschrieben, ich konnte mich jeden Augenblick mit ihm besprechen, . . . " (Beethoven Briefwechsel Gesamtausgabe, Volume 5, Letter No. 1773, by Beethoven to Raphael Georg Kiesewetter, Vice President of the Gesellschaft der Musikfreunde, Vienna, p. 260-261; to [11]: refers to Franz Xaver Huber; "christ on the mount of Olives has been written by me and the poet in a period of 14 days, however, the poet was musically inclined and had already written several texts for music, and I was able to confer with him, at any moment. . . . ")
As Thayer reports, in a letter from the year 1804 to Breitkopf & Härtel, Beethoven referred to another time frame:
" -- das Oratorium ist bisher noch nicht herausgekommen, weil ich einen ganz neuen chor dazu noch beygefügt, und einige Sachen noch verändert habe,[9] indem ich das ganze oratorium in nur einigen Wochen schrieb . . . " (Beethoven Briefwechsel Gesamtausgabe, Volume 1, Letter No. 188, Beethoven to Breitkopf & Härtel in Leipzig, on August 26, 1804; p. 218 - 220; to [9]: refers to the revision of the chorus "O Heil Euch" from no. 2 as well as to a passage from no. 6 of the Oratorio; to [10]: according to the GA, very likely, Beethoven refers to Letter No. 171 of November 23, 1803, in which Kaspar Karl van Beethoven had offered the Oratorio to this publisher, the first time; "--the Oratorio has not been published, yet, since I have added a completely new chorus to it and since I have still changed some things, due to the fact that I had written the entire oratorio in only a few weeks . . . " ).
Therefore, Thayer argues, that it becomes clear from Beethoven's own indications that he had written this work within a short time period, namely in one "sitting" shortly before its rehearsal for the performance. As Thayer further argues, this contradicts Schindler's information that Beethoven had already worked on sketches for this work in 1801 and that he did so during his summer stay at Hetzendorf, in the park of Schönbrunn.
As Thayer reports, Kotzebue has announced the performance in his Freymüthige:
"Beethoven has for a short time past been engaged at a considerable salary, by the Theater-an-der-Wien, and will soon produce at that playhouse an oratorio of his composition entitled Christus am Ölberg" (Thayer: 325).
As Thayer reports, the Wiener Zeitung of Saturday, the 26th and of Wednesday, the 30th of March, 1803, contained the following announcement:
"N O T I C E
On the 5th (not the 4th) of April, Herr Ludwig van Beethoven will produce a new oratorio set to music by him, Christus am Ölberg, in the R.I. privil. Theater-an-der-Wien. The other pieces to be performed will be announced on the large bill-board" (Thayer: 328).
Thayer further reports that the last rehearsal took place on the morning of April 5 in the theater, and, as it was often the case with Beethoven, he had ordered his pupil Ries to visit him very early in the morning, namely at five o'clock. To this, Thayer writes, Ries reported in his Notizen on p. 75-76:
"I found him in bed, writing on separate sheets of paper. To my questions what it was he answered, 'Trombones.' The trombones also played from these sheets at the performance.
"Had someone forgotten to copy these parts? Were they an afterthought? I was too young at the time to note the artistic interest of the incident; but probably the trombones were an afterthought, as Beethoven might as easily have had the uncopied parts as the copied ones. The rehearsal began at eight o'clock in the morning. . . . It was a terrible rehearsal, and at half past two everybody was exhausted and more or less dissatisfied.
"Prince Karl Lichnowsky, who attended the rehearsal from the beginning, had sent for bread and butter, cold meat and wine, in large baskets. He pleasantly asked all to help themselves, and this was done with both hands, the result being that good nature was restored again. Then the Prince requested that the oratorio be rehearsed once more from the beginning, so that it might go well in the evening and Beethoven's first work in this genre be worthily presented. And so the rehearsal began again. The concert began at six o'clock, but was so long that a few pieces were not performed" (Thayer: 328).
As Thayer writes, the works that were actually performed were the Second Symphony, the Piano Concerto in c minor and Christ on the Mount of Olives. However, since a copy of the printed programme has not been preserved, one can only guess at what else might have been planned. Thayer finds it peculiar that Beethoven did not improvise at the piano, himself. With respect to Beethoven's self-confident pricing of the tickets for this performance and with respect to Seyfried's recolletions of this concert, we already reported in our creation histories to the Second Symphony and to the Piano Concerto in c minor.
In general, Thayer continues (p. 328-331), the oratorio was not very well received. For example, the report in the Freimüthige (perhaps written by Kotzebue) rendered this impression:
"Even our doughty Beethofen, whose oratorio Christus am Ölberg was performed for the first time at suburban Theater-an-der-Wien, was not altogether fortunate and despite the efforts of his many admirers was unable to achieve really marked approbation. True, the two symphonies and single passages in the oratorio were voted very beautiful, but the work in its entirety was too long, too artificial in structure and lacking expressiveness, especially in the vocal parts. The text, by F.X. Huber, seemed to have been as superficially written as the music. But the concert brought 1800 florins to Beethoven and he, as well as Abbe Vogler, has been engaged for the theatre. . . . " (Thayer: 328).
The report of the Zeitung für die Elegante Welt expressed the following opinion:
" . . . He found the music to the Christus on the whole good; "there are a few admirable passages; an air of the Seraph with trombone accompaniment in particular makes an excellent effect." This may well have been the trombone passage, referred to in Ries's account, which Beethoven composed in bed the morning of the performance" (Thayer: 330).
With respect to the report of the Allgemeine Musikalische Zeitung, we can quote Thayer as follows:
" . . . It confirms my long-held opinion that Beethoven in time can effect a revolution in music like Mozart's. He is hastening towards this goal with great strides" (Thayer: 330).
Three months later, another correspondent wrote just the opposite:
"In the interest of truth," he writes, "I am obliged to contradict a report in the Musikalische Zeitung; Beethoven's cantata did not please." To this Schindler remarks: "Even the composer agreed that it had been a mistake to treat the part of Christ in the modern vocal style. The abandonment of the work after the first performance as well as its tardy appearance in print [1811] permit us to conclude that the author was not particularly satisfied with the manner in which he had solved the problem and that he probably made material changes in the music" (Thayer: 330).
Thayer confirms Schindler's comment with respect to revisions and, in this context, refers to Nottebohm, Ein Skizzenbuch von Beethoven aus dem Jahre 1803 (Leipzig, 1880), p. 72-23].
With respect to Beethoven's attempts at getting the work published, Thayer refers to his letter to Breitkopf & Härtel of August 26, 1804, whereby we can quote the relevant passage directly from the Gesamtausgabe and then provide you with our translation of it:
" -- das Oratorium ist bisher noch nicht herausgekommen, weil ich einen ganz neuen chor dazu noch beygefügt, und einige Sachen noch verändert habe,[9] indem ich das ganze oratorium in nur einigen Wochen schrieb, und mir wohl hernach einiges nicht ganz entsprach -- deswegen hatte ich es bisher zurückbehalten, diese Änderungen datiren sich erst nach der Zeit, als ihnen mein Bruder davon geschrieben[10]-- . . . " (Beethoven Briefwechsel Gesamtausgabe, Volume 1, Letter No. 188, Beethoven to Breitkopf & Härtel in Leipzig, on August 26, 1804; p. 218 - 220; to [9]: refers to the revision of the chorus "O Heil Euch" from No. 2 as well as a passage from No. 6 of the Oratorio; to [10]: according to the GA, Beethoven very likely refers to Letter No. 171 of November 23, 1803, in which Kaspar Karl van beethoven offered the work to this publisher, the first time).
In our publication history of the Third Symphony we offer our readers a chance to take a good look at Beethoven's correspondence with Breitkopf & Härtel. In it, we can read that the publisher, in his reply to Beethoven of August 30, 1804, points out the following:
"Besonders schwierig ist jetzt die Herausgabe größerer und ernsthafter, wenn auch noch so trefflicher Werke in Partitur. . . . , so ist doch die Nachfrage danach bei weitem nicht hinreichend gewesen, um nur die simplen Druckkosten zu ersetzen. Die Aufhebung der Klöster[3] hat hierzu nicht unwesentlich beigetragen. Da Sie hingegen wahrscheinlich, und mit gerechtem Anspruch, den bei weitem größten Teil des proponierten Honorars auf Ihr Oratorium werden geschlagen haben, so würde eben dieses Werk die Übereinkunft zwischen uns am meisten erschweren. . . . " (Beethoven Briefwechsel Gesamtausgabe, Volume 1, Letter No. 189, Breitkopf & Härtel to Beethoven, on August 30, 1804; p. 221; to [3]: refers to the "Reichsdeputationshauptschluß" of February 25, 1803, pursuant to which all German territories, with the exception of the territory of the Mainz Electorate to the right side of the Rhine, were secularized and, as a consequence, many monasteries were disbanded; "Now, the publication of larger and more serious works in score, may they be as excellent as they can, is particularly difficult. . . . , the demand was, by far, not enough to even pay for the printing costs. The disbanding of the monasteries has contributed to this, to a not unimportant degree. Since you, very likely, and that justifiably, will have calculated the larger portion of your fee for your oratorio, particularly this work would make an agreement between us most difficult . . . ").
From the further correspondence of this year between publisher and composer can be seen that Beethoven wanted to think about the suggestion of the publisher, namely to accept free copies for the oratorio instead of a fee; after that, their correspondence from the year 1805 indicates that Beethoven wanted to send to the publisher the score of the oratorio [his brother had sent single parts to the publisher with his letter of February 1], which was delayed, however, so that Beethoven, in his letter to the publisher of April 18, 1805, points out that Prince Lichnowsky was to take the score along to a planned performance of the work in Leipzig, himself and that the profits of this concerts were to be used for the benefit of Bach's only daughter who still lived in Vienna. Was the Gesamtausgabe reports in its notes to Letter No. 223 of the beginning of May, 1805, which Beethoven had sent to the publisher, this concert, in spite of Lichnowsky's efforts, did not take place. The publisher returned the score to Beethoven with Letter No. 226 of June 1805.
As can be learned from Volume 2 of the "Henle Gesamtausgabe" of Beethoven's Letters is that, in 1809, Beethoven and Breitkopf & Härtel resumed their correspondence with respect to the publication of this oratorio, with the result that finally, in 1811, Breitkopf & Härtel were able to publish the score of the work, which is also confirmed by Thayer (p. 521). Thayer (p. 507) also mentions that Beethoven revised the work, once more. A more detailed description of these proceedings should be rendered in a separate creation and publication history of this work.
With respect to further performances of this work during Beethoven's lifetime, we can report the following:
1. A concert of the Viennese Amateur Concert Society on August 4, 1803 (Thayer: 331), that, according to the July 30, 1803 report of the Wiener Zeitung wanted to take advantage of the 'favorable receiption' of the work at its first performance;
2. A few performances during the year 1804, whereby Sebastian Mayer's concert of March 27, 1804, that began with a performance of Beethoven's Second Symphony and that ended with the performance of op. 85, was described as the fourth performance of the oratorio during this year;
3. A concert on December 24, 1808 (Thayer: 473), whereby Beethoven's friend Clement presented the Oratorio at the Theater an der Wien;
4. A benefit concert for the poor on April 11, 1813 (Thayer: 557), that, as the Graz newspaper Der Aufmerksame reports, took place on Palm Sunday, April 11, 1813, in Graz;
5. A further benefit concert, this time for the Viennese Bürgerhospitalfonds on December 15, 1815, which Beethoven even conducted, himself, and that featured a new performance of op. 85 (together with the 'Namensfeier'-Ouvertüre and Goethe's 'Meeresstille');
6. A concert of the Viennese Gesellschaft der Musikfreunde (Thayer: 770) on April 9, 1820, in which op. 85 and the Symphony in c minor were performed;
7. One of ten concerts of the second season (1820/21) of the Concerts Spirituels (Gebauer), in which op. 85 was reportedly performed (Thayer: 771);
8. A performance of the oratorio on May 23, 1825 on the occasion of a Music Festival at the Lower Rhine (Thayer: 933, relying on Ferdinand Ries).
Unfortunately, we do not have any further contemporary reviews of performances of this work. Perhaps, we might wish to take a look at the latest contemporary review by Lewis Lockwood in his 2003 Beethoven book:
"Prior to Christus Beethoven's only attempts at large-scale vocal works with soloists and chorus had been the two cantatas of 1790--for the death of Joseph II and the shorter one for the elevation of Leopold II. He could have looked back to the Joseph cantata as an impressive achievement for its time, and certainly he did look back to it when he took from one of its arias the great streaming melody in F major that crowns the ending of Leonore/Fidelio. But when we compare the arias and choruses of Christus, even in its improved version of 1811, with any portions of Leonore, the difference is clear. For the oratorio Beethoven drew on his professional competence to fashion an essentially routine work, while the opera caught his imagination and drove him to give it the full measure of his talents. The first aria in Christus, "Meine Seele ist erschüttert" ("My soul is shaken"), for the tenor role of Jesus, has rapid passage work in th srings reflecting Jesus's agitation but has little of the tautness of Pizarro's "Ha! Welch' ein Augenblick" ("Ha! what a moment"). The closing vocal trio of the oratorio, for Jesus, the Seraph, and Petrus, seems stilted and conventional when compared with either of the two trios in the opera. Fidelio, in its range of situations, characters, and above all its overriding moral purpose as a drama about imprisonment and freedom, is a work about which Beethoven could have said, as he did mach later about the Missa solemnis, "from the heart--may it go to the heart." Posterity has not been able to say anything comparable about Christus, despite the aura of seriousness that attaches to a work in which the suffering of Jesus is the central theme. It is true that thee are parallels of dramatic content between Christus and Leonore because both place at the center a suffering male and "in each case a long and somber prelude in the minor depicts the lone figure's plight."[5] It is also true that in the oratorio the female Seraph tries to offer Christ an alternative to the cup of sorrow, but to no avail; in the opera, as it stood in 1805-6, Leonore, after defending the weakened Florestan from Pizarro, has her pistol stripped from her by Rocco, leaving the couple defenseless. The duet that follows "is therefore sung by two people who are reconciled to death if they can die in each other's arms."[6] Yet despite these surface similarities, there are solid musical reasons why Leonore/Fidelio is an enduring masterpiece but Christus remains a hastily crafted effort to compete with Haydn as an oratorio composer. If the Joseph cantata was a major step forward for the young Beethoven in 1790, Christus was musically routine for him in 1803. In its revision of 1811, it remains a barely improved reconnoitering of ground from which he had long since departed. It is instructive as an example of Beethoven's response when he was working with texted music at less than his top level of concentration: a heavy reliance on tested formulas of oratorio writing, recitatives, and arias of fairly routine character, and choral numbers that rely on plain contrapuntal techniques (as in the finale chorus) or simple repetitions of obsessive rhythmic formulas" (Lockwood: 270-271).
After this look at Lockwood's views on this Oratorio we want to offer you access to the following listening sample:
Listening Sample: Rundfunkchor Berlin
Deutsches Symphonieorchester Berlin / Kent Nagano
THE MASS IN C MAJOR, OP. 86:
After the above-described sacred works Beethoven composed in 1803, four years later, in 1807, Beethoven had his first opportunity of composing a Mass. As Thayer (p. 422) and Cooper (p. 171) report, prior to the spring of 1807, Beethoven received an invitation by Prince Nikolaus Esterhazy to compose a Mass for the celebration of the Name Day of his wife in September of the same year.
As Cooper (p. 171) further reports, Prince Nikolaus Esterhazy commissioned a Mass every year, for the Name Day celebration of his wife Maria that took place on September 8th or on the Sunday following after it. As Cooper reports, Haydn composed his six late masses for this purpose, while Hummel also contributed a work. Therefore, as Cooper writes, it was quite logical for Esterhazy, to also approach Beethoven.
Cooper points out that Beethoven must have begun working on this composition during his summer stay at Baden and that extensive sketches have been preserved in a sketchbook. From these, reports Cooper, one can see that the Credo was the first piece Beethoven dealt with, while all other parts were composed in the 'right' sequence.
As Cooper reports, Beethoven might have hoped to have the mass completed by the end of July, was, however, interrupted by headaches and toothaches. Let us take a look at Beethoven's own report to Prince Esterhazy:
"[Baden, 26. Juli 1807]
Durchlauchtigster, gnädigster Fürst!
Da man mir sagt, daß sie mein Fürst nach der Messe gefragt, die sie mir aufgetragen für sie zu schreiben, so nehme ich mir die Freyheit, ihnen durchlauchtigster Fürst zu verkünden, daß sie solche spätestens bis zum 20ten August-Monath erhalten Werden[2] -- Wo alsdenn genug Zeit seyn wird, solche auf den Namens-Tag der Durchlauchtigsten Fürstin aufzuführen[3] -- außerordentliche Vortheilhafte Bedingungen, die mir von London gemacht wurden, als ich das unglück hatte mit einem Benefice Tag im Theater durchzufallen,[4] und die mich die Noth mit Freuden ergreifen machen muste, verzögerten die Verfertigung der Messe,[5] so sehr ich es auch gewünscht, damit for ihnen Durchlauchtigster Fürst zu erscheinen, dazu kam später eine Kopfkrankheit, welche mir anfangs gar nicht und später selbst jezt noch mir wenig zu arbeiten erlaubte; -- da man mir alles so gern zum Nachtheil aus legt, lege ich ihnen d.[urchlauchtigster] F.[ürst] einen von den Briefen meines Arztes hierhin bey[6] -- darf ich noch sagen, daß ich ihnen mit viel Furcht die Messe übergeben werde, da sie D. F. gewohnt sind, die Unnachamlichen Meisterstücke des Großen Haiidns sich vortragen zu laßen[7] -- Durchlauchtigster, Gnädigster Fürst! --
mit Hochachtung ergebenster unterthänigster
Ludwig van Beethowen
Baden am 26ten Juli --
"[Baden, 26th of July, 1807]
Most serene, most graceful Prince!
Since one tells me that you, my Prince, have asked for the Mass that you had offered me to write for you, I take the liberty to inform you, Serene Prince, that you will receive the same by the 20th of August, the latest[2]--Whereupon there will be enough time to perform it on the Name Day of the Most Serene Princess[3]--extraordinarily advantageous conditions that were offered to me from London, as I had the misfortune to fall through with a date for a benefit concert at the theater,[4] and which my needs had me accept with pleasure, delayed the completion of the Mass,[5] as much as I wished to appear before you, Most Serene Prince, and to this was added a head illness that occurred thereafter and that, in the beginning did not allow me to work, at all, and later only little;--since one prefers to interpret everything to my disadvantage, I enclose, my Most Serene Prince, for your information, one of the letters of my physician[6]-- may I still say that I shall hand the Mass over to you in fear, since you are used to having the inimitable master works of the great Haydn performed[7]--Your Most Serene Prince's!--
most humble and devoted
Ludwig van Beethowen
Baden the 26th of July --"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Volume 1, Letter No. 291, p. 321-322; Original: Széchényi-Nationalbibliothek; to [1]: refers to Prince Nikolaus II. Esterhazy von Galantha (1765 - 1833), according to the Gesamtausgabe Haydn's employer since 1794, one of the great patrons of arts and sciences in the Hapsburg monarchy; to [2]: refers to the fact that Beethoven composed the Mass for Prince Esterhazy, that the work was, however, dedicated to Prince Ferdinand Kinsky at the time of its publication; to [3]: refers to September 8th as the Name Day of the Princess, "Mariae Geburt"; to [4]: probably refers to the benefit concert Beethoven had planned in March, 1807, and that, due to time constraints, could not take place; to [5]: refers to Beethoven's publishing contract with Muzio Clementi; to [6]: refers to Letter No. 286 by Dr. Johann Adam Schmidt to Beethoven, on July 22, 1807; to [7]: refers to the fact that, for many years, Haydn had been employed as Esterhazy's Kapellmeister in Eisenstadt and to his composition of six masses for the Princess, during the period of 1796 to 1802].
Boeth Thayer (p. 423) and Cooper (p. 171) report that at the end of July, 1807, Beethoven went from Baden to Heiligenstadt and worked on the Symphony in c minor, there. Therefore, Prince Esterhazy's lines of August 9, 1807, must have reached him there:
"An Herrn Ludwig van Beethoven
[Eisenstadt, 9. August 1807]
Schätzbahrster Herr van Beethoven!
Mit vielen Vergnügen habe ich aus Ihrem Schreiben von Baaden[1] ersehen, daß ich bis 20ten dieses, eine Messe von Ihnen zu erhalten, die angenehme Erwartung haben könne, deren Erfüllung mir <wirklich recht viel Freude machen> und um so viel mehr Freude machen wird, als ich mir davon sehr viel verspreche, und Ihre geäußerte Besorgniß im Vergleich der Haydnischen Messen, nur noch mehr den Werth Ihres Werkes erhöhet.[2] Ich wünsche Ihnen übrigens von Herzen die schleunigste Herstellung Ihrer vollkommenen Gesundheit, und bin mit aller Schätzung.
Ihr bereitwilligster
Eisenstadt den 9te Aug 1807.
"To Herr Ludwig van Beethoven
[Eisenstadt, the 9th of August, 1807]
Most Esteemed Herr van Beethoven!
With much pleasure I have learned from your letter from Baden[1] that I would have the pleasant expectation to receive the Mass from you by the 20th of this month, the fulfillment of which will be all the more of a joy to me since I expect very much of it, and the sorrow you expressed with respect to its being compared to Haydn's masses, has even heightened the value of your work.[2] By the way, I sincerely wish you a speedy restoration of your complete health and am, with all esteem,
Your most agreeable
Eisenstadt the 9th of Aug 1807."
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Volume 1, Letter No. 292, p. 322-323; Original: not known, Text, pursuant to GA, after the draft of a clerk of the Prince's office; to [1]: refers to Letter No. 291; to [2]: pursuant to the GA this refers to the fact that Beethoven's fears were obviously well-founded, since later, in a letter to Countess Henriette Zielinka, Esterhazy wrote: "La messe de Beethoven est insuportablement ridicule et detestable . . . J'en suis colere et honteux" "The Mass by Beethoven is unsupportably ridiculous and detestable ... I am angry and ashamed"]).
As Cooper (p. 171) reports, the Mass was completed by the end of August. When Beethoven arrived with it in Eisenstadt in order to hold rehearsals, can best be seen in the following report that also gives us an impression of the fact that he could not have been happy with his quarters:
"The composer's annoyance at Eisenstadt must have been further heightened by the quarters to which he was assigned during his stay. Victor Papp[13: Victor Papp, Beethoven es a Magyorok (Budapest, 1927), p. 71)] has discovered that instead of being given a room in the castle like a social equal, Beethoven was quartered in the apartment of the Court Secretary of Music, Joseph Baranyuai, whose principal house was in Vienna.
These accommodations were not designed as living quarters and had been refused by a tenor singer two years earlier as being too damp. Papp prints a fascimile of Baranyai's receipt for 20 florins as compensation for quartering Beethoven from September 10th to 16th. Thus presumably he did not leave on the 13th as claimed by Schindler. However, all of these anecdotes point toward a most unhappy and humiliating experience for Beethoven, and the fact that fourteen years later he referred to this performance to Schindler "with great bitterness" is understandable. . . . " (Thayer: 423-424).
Thayer further reports that in the year 1807, the 8th of September was as Tuesday, so that the Mass, as was usual in such cases, was to be performed on the next Sunday, the 13th of September. The following lines by Prince Esterhazy to his Deputy Kapellmeister Johann Fuchs show the difficulties Beethoven faced during the rehearsals:
"[Eisenstadt, 12. September 1807]
An Meinen Vice-Kapellmeister Johann Fuchs
Es wird mir mein Vice-Kapellmeister die Ursache anzuzeigen haben, warum meine conventionirten Sängerinnen nicht jedesmahl im Dienst bei den Musiquen erscheinen? gleichwie ich heute mit vielem Mißvergnügen ersehn habe, daß bei der abgehaltenen Probe von der Beethovischen Messe[2] von den fünf Contra-Altisinnen nur eine zugegen war, welches auch der Vice-Kapellmeister beobachten hätte sollen, und daher in demselben hiermit den Auftrag ertheilen mus strengstens darauf zu sehn, daß nicht nur Morgens bei der abzuhaltenden Production von der Beethovischen Messe alles von meinem Musique u Sing-Personale erscheinen, sondern auch ansonsten Niemand ohne hinlängliche Ursache vom Dienst sich entfernen solle, weilen ich ansonsten mich gerade an meinem Vice-Kapellmeister als vorgesetzten Chef, welchem es obliegt alles in Ordnung zu erhalten, und Nichts was zuwider dem Dienst zu dulden, halten und denselben zur Verantwortung ziehen müsste.
Eisenstadt am 12t Sept. 1807"
"[Eisenstadt, the 12th of September, 1807]
To my Vice-Kapellmeister Johann Fuchs
My Vice-Kapellmeister will have to let me know the reasons why my contracted singers do not appear every time during the Musiques? as well as I have seen, today, with great displeasure, that, during the rehearsal of the Beethovenian Mass[2] that was held, of the five Contra-Alto singers, only one was present, which the Vice-Kapellmeister should have noticed, due to which I have to give the same the strict order that not only in the morning during the production of the Beethovenian mass, all of my musical and singing staff has to appear, but also that otherwise, no-one shall stay away from his duty without sufficient reason, since otherwise, I would have to hold my Vice-Kapellmeister as their Chef whose duty it is to keep everything in order and not to tolerate anything against the service, directly responsible. ,
Eisenstadt on the 12th of September, 1807"
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Volume 1, Letter No. 293, p. 323; Original: not known, text pursuant to the draft of the clerk at the Prince's office; to [2]: refers to op. 86].
After, as Thayer (p. 423) reports, the Mass was performed on Sunday, the 13th of September, 1897, according to the custom, "the local as well as foreign musical notabilities" gathered in the Prince's presence in order to discuss the work. When Beethoven entered, the Prince reportedly addressed him with the question, "But, my dear Beethoven, what is this that you have done again?" Thayer, relying on Schindler, reports that this question was followed by further critical remarks, and that in the presence of the Eisenstadt Kapellmeister J.N. Hummel, who, standing next to the Prince, could not hold back his laughter. However, as Thayer (p. 424) and Cooper (p. 171) point out, Beethoven did not leave Eisenstadt 'immediately'; moreover, Beethoven does not appear to have held on to a grudge against Hummel. However, as is further pointed out, Beethoven did not dedicate the work to Prince Esterhazy and also did not give the score to him.
As Thayer and Cooper further report, Beethoven gave the first copy of the work to Gottfried Härtel to whom he sold the work in 1808. Their correspondence that we feature below shows the progress of their negotiations:
Beethoven an Breitkopf & Härtel in Leipzig
Vien am 8ten Juni [1808][1]
Euer Hochwohlgeborhn!
Der Hofmeister des jungen Grafen Schönfeld[2] ist schuld, indem er mir Versichert, daß sie wünschten wieder Werke von mir zu haben, an diesem schreiben--obschon durch so mehrmalige Abbrechu[n]g[3] beynahe überzeugt, daß auch diese von mir gemachte Anknüpfung doch wieder Fruchtloß, Trage ich ihnen in diesem Augenblicke nur folgende Werke an--
2 sinfonien[4], eine Messe[5], und <eine Sonate mit. eine Sonaate für's Klawier und Violonzell[6]-- +Nb. für alles zusammen verlange iich 900 fl. + -- . . .
. . .
ihr ergebenster LvBeethowen
Man bittet noch einmal um Geschwinde Antwort
Von meiner Meße wie überhaupt von mir selbst sage ich nicht gerne etwas, jedoch glaube ich, daß ich den text behandelt habe, wie er noch wenig behandelt worden, auch wurde sie an Mehreren Orten, unter anderm auch bey Fürst Esterhazi auf den NamensTag der Fürstin mit vielem Beyfall gegeben in Eisenstadt,[9]--ich bin überzeugt, daß die Partitur und selbst KlawierAuszug ihnen gewiß einträglich seyn wird --
An Breitkopf und Härtel in Leizpig.
Beethoven to Breitkopf & Härtel in Leipzig
Vienna the 8th of June, [1808][1]
Your Honor!
The steward of the young Count Schönfeld[2] is to blame for my writing to you, since he assures me that you wished to receive works from me, again--although, on account of several break-offs[3] almost convinces that also this attempt at contacting you will be fruitless, again, at this moment, I offer you the following works--
2 symphonies[4], a Mass[5], and <a Sonata with> a sonata for the piano and Violoncello[6]-- +PS. for everything, I ask for 900 fl. + -- . . .
. . .
your most devoted LvBeethowen
Once more, one asks for a speedy reply
About my mass as well as about myself, I do not like to say anything, however, I believe that I have treated the text as it has hardly been treated before, also, in several places, amongst others also at the Name Day of Princess Esterhazy at Prince Esterhazy's, it has been performed with much applause,[9]--I am convinced that the score and even a piano reduction will certainly profitable for you--
To Breitkopf and Härtel in Leizpig.
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 327, p. 14-15]
[Original: Bonn, Beethovenhaus, Sammlung Bodmer; to [1]: indicates that the year can be taken from the registration mark of the publisher; to [2]: refers to Georg August Griesinger, the Saxon Emissary in Vienna, who was also the steward of Count Johann Hilmar Adolph von Schönfeld; to [3]: refers to the negotiations of the years 1805 and 1806 that had failed; to [4]: refers to op. 67 and op. 68; to [5]: refers to op. 86; to [6]: refers to op. 69; to [9]: refers to the fact that the mass had been performed on the occasion of the Name Day of Princess Maria Esterhazy under Beethoven's direction on September 13, 1807; details taken from p. 15.]
Breitkopf & Härtel an Beethoven
[Leipzig, 18. Juni 1808]
[Der Verlag zeigt Interesse an den in Brief 327 angebotenen Werken op. 67, op. 68 und op. 68, lehnt jedoch die Messe op. 86 ab, da die Nachfrage nach kirchenmusikalischen Werken nicht groß genug sei. Außerdem versucht er, den Preis herunterzuhandeln.]
Breitkopf & Härtel to Beethoven
[Leipzig, June 18, 1808]
[As GA reports, the publisher showed interest in the works offered by Beethoven in Letter 327: op. 67, op. 68 and op. 68, whereby op. 86 was refused, however, since the demand for church works was not great enough. Moreover, the publisher tried to lower the price.]
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 328, p. 16]
[Original: not known, according to the GA, the existence of the letter can be derived from the registration note on Letters No. 327 and 329; detail taken from p. 16.]
Beethoven an Breitkopf & Härtel in Leipzig
[Heiligenstadt, etwa 10. Juli 1808][1]
Euer Hochwohlgebohrn!
hier meinen Entschluß auf ihr geehrtes schreiben[2] -- Woraus sie gewiß meine Bereitwilligkeit ihnen so viel als möglich entgegen zu kommen sehen werden -- erst Schematisch dann das darum und warum -- ich gebe ihnen Die Messe[3], die 2 Sinfonien[4], die + Violonzell Klawier Sonate mit+[5], und noch zwei andere Sonaten <oder> für's Klawier oder statt diesen vieleicht noch eine Sinfonie[6] für 700 fl. (Siebehundert fl. in KonWenzionsGeld[)] -- sie sehen, daß ich mehr gebe und wniger nehme -- das ist aber auch das äußerste; -- Die Meße müßen sie nehmen, sonst kann ich ihnen die andern Werke nicht geben -- indem ich auch drauf sehe, was rühmlich ist, und nicht allein, was nüzlich, "man frägt nicht nach Kirchen-Sachen, sagen sie", sie haben recht, Wenn sie bloß von GeneralBaßisten herrühren, aber laßen sie die Messe einmal zu leipzig im Konzert aufführen, und sehen sie, ob sich nicht gleich liebhaber dazu finden werden, die sie wünschen zu haben, gegen sie dieselbe meinetwegen im Klawierauszug mit Deutschem Text, ich stehe ihnen jedesmal wie immer für den Erfolg gut -- vieleicht auch mit Subscription, ich getraue mir ihnen von hier aus, ein Duzend auch zwei Duzend prenumeranten zu verschaffen -- doch ist das gewiß unnöthig --
sie erhalten, sobald sie übrigens wie ich nicht zweifele meinen Vorschlage annehmen, sogleich die 2 sinfonien, die Sonate mit violonschell, die Messe -- die andern zwei KlawierSonaten oder Vieleicht statt dessen beym Empfang der erstern 4 Werke <mit>mir <die>das <S> Honrorar gleich zustellen zu laßen, ich werde Die Sinfonie oder statt dessen die 2 Sonaten in <dies Schema der Werke> die schrift, die sie von mir zu erhalten haben, Schematisch auch eintragen, und schriftlich, damit sie kein Mißtrauen haben, mich vebinden, die Sonaten <in 4 Wochen> oder die Sinfonie ihnen in 4 Wochen zu schicken -- die 700 fl. bitte ich sie mir entweder in einem auf 700 fl. KonwenzionsGeld lautenden Wechsel <zu verschreiben>, oder nach dem Börsenkurs am Tage der Erhebung in Vien in Bankozettel zahlbar zu Verschreiben -- übrigens mache ich mich verbindlich ihnen mit einem offertorium und graduale[7] zu der Messe in einiger Zeit ein Geschenk zu machen, in diesem Augenblik stehn mir aber beyde nicht zu geboth -- ich bitte sie mir nun aber so geschwind als möglich, ihren Entschluß bekannt zu machen, andere Modifikationen kann ich nicht eingehen, Es ist das äußerste, was ich thun kann, und ich bin überzeugt, daß sie diese Sache nicht bereuen werden --
mit Hochachtung ihr ergebenster
Ludwig van Beethowen
Beethoven to Breitkopf & Härtel in Leipzig
[Heiligenstadt, appr. July 10, 1808][1]
Your Honor!
here my decision with respect to your esteemed letter[2]--from which you will certainly see my willingness to accommodate you as much as possible--I give you the Mass[3], the 2 Symphonies[4], the + Violoncello Piano Sonata with+[5], and will two other Sonatas <or> for the Piano or, instead of them, perhaps another Symphony[6] for 700 fl. (Seven Hundred fl. in Convention Money[)]--you see that I give more and take less--however, this is the utmost;--You have to take the Mass, otherwise, I can also not give the other works to you--in that I concentrate on what is praiseworthy and not alone on that which is useful, "one does not ask for church music, you say", you are right. If they merely stem from thorough-bassists, however, have the mass performed once in Leipzig in a concert, and see if there will not be found enthusiasts for it who want to have it, if you like, publish it as a piano reduction with German text, as always, I guarantee you success--perhaps also through a subscription, I dare to acquire you one dozen, even two dozen of subscribers from here--however, that is certainly unnecessary--
Immediately you will receive, as soon as, as I do not doubt, you will accept my proposals, the 2 symphonies, the sonata with Violoncello, the Mass--the other two piano sonatas, or perhaps, instead, at your receipt of the first 4 works, at which time you will send me the fee, immediately, I will schematically also enter the symphony or, instead, the two sonatas, into <this scheme work works> the write-up that you have to receive from me, and I shall obligate myself in writing, so that you do not mistrust me, to send the sonatas or the symphony to you in 4 weeks--I ask you to either issue me a draft for the 700 fl. in convention money or to make them out to me in form of a Bankozettel (paper money) according to the exchange rate--moreover, I obligate myself to present you with an offertorium and graduale[7] to the mass, in some time, at this time, however, both of them are not at my disposal--however, I ask you now to let me know of your decision as quickly as possible, I can not entertain any other modifications, this is the utmost that I can do, and I am convinced that you will not regret the matter--
with high esteem your most devoted
Ludwig van Beethowen
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 329, p. 16 - 17]
[Original: Bonn, Beethoven-Haus, Bodmer-Sammlung; to [1]: refers to the arrival of the letter in Leipzig on July 16, 1808, which can be seen from the registration note; to [2]: refers to Letter No. 328 of June 18, 1808, that has not been preserved; to [3]: refers to op. 86; to [4]: refers to op. 67 and op. 68; to [5}: refers to op. 69; to [6]: according to the GA, this refers to projects that were not realized; to [7]: refers to the fact that Beethoven did not realize this intention; details taken from p. 17.]
Breitkopf & Härtel an Beethoven
[Leipzig, 20. Juli 1808]
[Der Verlag lehnt den Ankauf der Messe op. 86 erneut ab.]
Breitkopf & Härtel to Beethoven
[Leipzig, Juli 20, 1808]
[The publisher refuses to buy the Mass, op. 86, again.]
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 330, S. 17]
[Original: not known, existence of letter derived from registration notes to letters No 329 and No. 331; information taken from p. 17.]
Beethoven an Breitkopf & Härtel in Leipzig
[Heiligenstadt, Ende Juli 1808][1]
Euer Ho[c]hwohlgebohrn!
Auf den Nochmaligen <Auftrag>Antrag von ihnen Durch Wagener[2] antworte ich ihnen, daß ich also bereit bin, sie<die> von <der Messe zu drucken,> dem, was die Messe[3] angeht, völlig zu entbinden -- ich mache ihnen also ein Geschenk damit, selbst die Kosten der schreiberei sollen sie nicht bezahlen, fest überzeugt, daß wenn sie solche einmal in Leipzig in ihren Winterkonzerten aufführen haben laßen, sie solche gewiß mit einem Deutschen Text werden versehen, und heraus geben. Was auch damit geschehe, sie gehört einmal ihnen an, sobald wir einig sind, schicke ich ihnen die Partitur davon mit den andern Werken, und werde sie auch in's Schema eintragen, als hätten sie solche gekauft -- warum ich sie vorzüglich verbinden wollte diese Messe herauszugeben, ist weil sie mir erstens vorzüglich am Herzen liegt troz aller Kälte unseres Zeitalters gegen d.g., zweitens: weil ich glaubte sie würden solche leichter Vermittels ihrer <Gedruckten> Noten Tipen für Gedrukte Noten als andere Deutsche Verleger, bey denen man meisten von Partituren nichts weiß. --
. . .
. . . -- Die Partitur von der Meße, wird sobald ich Antwort erhalte, abgeschrieben, und ihnen sicher bey der zweiten Lieferung mitgeschikt --
. . .
. . .
mit Achtung ihr ergebenste[r]
Ludwig van Beethowen
Um alle Konfusionen zu vermeiden, adressiren sie gefälligst ihre Antwort an Wagener, dieser weiß schon wie er mir den Brief zustellt, indem ich auf dem Lande bin[8] --
[Breitkopf]* und Härtel in Leipzig
Beethoven to Breitkopf & Härtel in Leipzig
[Heiligenstadt, at the end of July 1808][1]
Your Honour!
In reply to your repeated offer through Wagener[2] I reply to you that I am ready to release you from the obligation to print the mass[3];--I am thus offering it to you as a present, even the cost of writing, you will not have to pay, (as I am) convinced that, once you have had it performed in Leipzig in your winter concerts, you will publish it with a German text. Whatever happens to it, it is yours, as soon as we have come to an agreement, I will send the score to you with the other woks, and I will enter them into the Schema (schematic listing) as if you had bought it--the reason I wanted to preferably obligate you to publish the mass was, because, firstly, it is close to my heart in spite of all the coldness of our time against such music, and, secondly: since I thought that you, with your note printing types, could do this than other German publishers most of whom no nothing about scores.--
. . .
. . . -- The score of the mass will be copied as soon as I receive (your) reply, and will certainly be sent along with the second shipment --
. . .
. . .
with esteem your most devoted
Ludwig van Beethowen
In order to avoid all confusion, kindly address your reply to Wagener, he knows how to forward the letter to me while I am in the country side[8] --
[Breitkopf]* and Härtel in Leipzig
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 331, p. 18 - 19]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [1]: refers to the fact that this letter is a reply to Letter No. 330 of July 20,.1808; to [2]: refers to the fact that "Wagener" could not be identified; to [3]: refers to op. 86; to *: refers to loss of text due to the cutting of the page; details taken from p. 19.]
Beethoven an Gottfried Christoph Härtel[1]
[Heiligenstadt, kurz nach dem 14. September 1808][2]
Ich bin wirklich recht ärgerlich über mich selbst sie gestern Versäumt zu haben -- Vieleicht wenn es zu machen ist, könnten wir unß heute in der stadt sehen -- schreiben sie mir nur, <ob>bis wann sie eigentlich heute schon fort wollen -- hier die eine Sinfonie, die andere[3] bringt ihnen Gegen Eilf halb zwölf uhr mein Bedienter auch -- Der Kopist ist dran die Fehler, die ich angezeigt, in derselben zu korrigiren -- recht vielen Dank für ihr Geschenk --
ganz ihr Beethowen
Beethoven to Gottfried Christoph Härtel[1]
[Heiligenstadt, shortly after September 14, 1808][2]
I am really angry at myself for having missed you, yesterday--perhaps, if it can be arranged, we might meet in the city, today--only write me when you actually want to leave, today--here the one symphony, my servant will also bring the other one[3] to you towards eleven, half past eleven--The copyist is correcting the mistakes that I have noted in it--many thanks for your present--
wholly your Beethowen
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 335, p. 23]
[Original: Bonn, Beethovenhaus, Sammlung Bodmer; to [1]: refers to the fact that this letter is directed to Härtel, personally, who stayed in Vienna during this time; to [2]: refers to the fact that in August 1808, Härtel had travelled to Vienna; to [3]: refers to op. 67 and op. 68; details taken from p. 23.]
Beethoven an Breitkopf & Härtel in Leipzig
Vien am 5ten April [1809]
Hochgeehrtester Herr!
. . . -- ich schicke ihnen mit nächster Post alle drey Werke das oratorium, oper, Messe[7]--und verlange nicht mehr dafür, als 250 fl. in KonwennzionsGeld--ich glaube nicht, daß sie sich hierüber Beschwerden werden--ich kann eben den Brief nicht finden, worin mir Simrock für die Messe auch 100 fl. in KonwenzionsGeld geben wollte,[8] auch selbst hier könnte ich dieses und noch etwas mehr von der chemischen Druckerey[9] dafür bekommen;--ich mache ihnen keine Schwenke, das wissen sie -- ich schike ihnen jedoch alle 3 werke, weil ich überzeugt bin, daß sie mich nicht werden darunter leiden laßen -- machen sie die überschriften ganz nach ihrem Beli[e]ben im Französischen --
. . .
ihr ergebenster Freund und diener
Beethowen
Beethoven to Breitkopf & Härtel in Leipzig
Vienna, the 5th of April [1809]
Most honored Sir!
. . . -- with the next post, I will send you all three work, the oratorio, opera, mass[7]--and I am not asking more for them than 250 fl. convention money--I don't believe that you will complain about that--at the moment, I can not find the letter in which Simrock has offered me 100 fl. in convention money,[8] even here I could get that and even more from the chemical print shop[9];--I am not shining you on, you know that--however, I am sending you all three works since I am convinced that you will not let me suffer because of it--make the headings quite to your liking in French--
. . .
your most devoted friend and servant
Beethowen
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 375, p. 58-59]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [7]: refers to op. 85, op. 72 and op. 86, according to the GA, these works were negotiated about anew in a previous letter of March, 1809; to [8]: very likely refers to a letter of March 12, 1803, by Simrock to Ferdinand Ries, in which the latter accepted a fee of von 100 florins for op. 86; to [9]: probably refers to the small publishing firm that had been founded by Senefelder and that Anton Steiner took over, however, nothing is known with respect to that firm's negotiations with Beethoven concerning op. 86; details taken from p. 59].
Beethoven an Nikolaus Simrock in Bonn
Vien am 5ten May 1809
Mein lieber geehrter Freund! unsere jezige Lage entschuldigt mein abgerissenes Stück Papier[1] -- Weisen sie mir die Summe von 100 Gulden in KonwenzionsMünz sogleich nur hier so an, daß, wenn ich die Messe[2] an demselbigen Ort abgegeben habe, ich sogleich <das>diese oben benannte Summe empfangen muß -- Leben sie wohl, und erinnern sie sich gern
ihres Freundes Beethoowen
Beethoven to Nikolaus Simrock in Bonn
Vienne the 5th of May, 1809
My dear, esteemed friend! our present situation excuses my using a torn-off piece of paper[1]--Send the sum of 100 florins in convention money to me, right away, so that, when I have delivered the mass to the same place, I can receive the above-noted sum--farewell and remember fondly
your friend Beethoowen
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 387, p. 67-68]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [1]: refers to the war events; to [2]: refers to op. 86; details taken from p. 68].
Nikolaus Simrock an Beethoven (Auszug)
[Bonn, 30. Mai 1809][1]
Der Ueberbringer dieses[2] wird Ihnen, lieber Herr v. Beethoven, 75 fl. für die Messe[3] in Conventions-Münze übergeben, an den ich solche anzugeben bitte, wenn es Ihnen gefällig ist. Ich wünsche herzlich für Sie und uns bessere Zeiten!
Nikolaus Simrock to Beethoven (Excerrpt)
[Bonn, 30th of May, 1809][1]
The bearer of this[2] will give to you, dear Herr v. Beethoven, 75 fl. in convention money for the mass[3], to whom I ask you to give the same, if you please. Sincerely I wish better times for you and us!
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Brief Nr. 388, p. 68]
[Source: Original not known; Text pursuant to TDR III, p. 144; to [1]: refers to the date according to similar information by Thayer and Müller, which obviously goes back to the copy book; to [2]: probably refers to Ferdinand Ries; to [3]: refers to op. 86; however, the transaction was not completed; details taken from p. 68].
Beethoven an Breitkopf & Härtel in Leipzig
[Wien, 26. Juli 1809]
. . .
-- Welch zerstörendes wüstes Leben um mich her nichts als trommeln Kanonen Menschen Elend in aller Art -- meine jezige Lage macht, daß ich schon wieder knickern muß mit ihnen, daher glaube ich, daß sie mir wohl 250fl in KonwenzionsMünze für die 3 größern Werke[5] schicken könnten, ich glaube eben nicht, daß das auch nur im Mindesten eine beträchtliche Summe ist, und jezt bedarf ich's -- denn auf alles in meinem Dekret zugesagt ist in diesem Augenblick nicht zu rechnen --
schreiben sie mir daher, wenn sie diesen Antrag annehmen wollen, die Messe allein konnte ich schon mit 100 fl in Konwenzions-Münze Honorirt haben[6] -- sie wissen, daß ich immer offen mit ihnen in d.G. bin --
. . .
Leben sie wohl, ich wünsche, so sehr Es unser wüstes Zeitalter zu läßt, errinern sie sich ihres
ergebensten Dieners und Freundes
Beethowen
Vien am 26ten Juli 1809
To Breitkopf and Härtel in Leipzig
Beethoven to Breitkopf & Härtel in Leipzig
[Vienna, the 26th of July, 1809]
. . .
-- what a destructive, desolate life around me, nothing but canons, human misery of all kind--my present situation requires that I have to be niggardly with you, again, and therefore, I believe that you could well send me 250 fl. in convention money for the three larger works[5], I do not believe that that is a considerable sum, and now I need it--since everything that is promised to me in my decree is not to be reckoned with at the moment--
therefore, write to me if you can accept this offer, for the mass alone I could receive a fee of 100 fl. in convention money[6]--you know that I am always open with you in such matters--
. . .
Farewell, I wish that, as much as our terrible times allow, you will remember your
most devoted servant and friend
Beethowen
Vienna the 26th of July, 1809
To Breitkopf and Härtel in Leipzig
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 392; p. 71-73]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [5]: refers to op. 72, op. 85 and op. 86 and to the fact, that Beethoven had asked for this fee already on April 5, 1809; to [6]: refers to Letter No. 387 by Nikolaus Simrock; details taken from p. 72-73].
Breitkopf & Härtel an Beethoven
[Leipzig, 21. August 1809]
[Laut GA bittet der Verlag, das Honorar von 250 Gulden für op. 72, op. 85 und op. 86 statt in Konventionsmünze, zum Teil in Bankozetteln Wiener Währung auszahlen zu dürfen. . . . ]
Breitkopf & Härtel to Beethoven
[Leipzig, 21st of August, 1809]
[Accoring to the GA the publisher asks if the fee of 250 florins for op. 72, op. 85 and op. 86 can in part be paid in bank drafts instead of in convention money. . . . ]
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 398, p. 79]
[Oroginal: not known, derived from Letters No. Nr. 393, 394, 395 and 400].
Beethoven an Breitkopf & Härtel in Leipzig
Vien am 19ten wein Monath [=September] 1809[1]
Mein hochgeehtester Herr,
Auf ihren Brief vom 21 august[2], antworte ich ihnen, daß ich wohl zufrieden bin, wenn sie mir auch einige Posten in wiener Courant,[3] (jedoch nicht viel), wollen bezahlen lassen -- die 3 werke sind schon abgeschickt, nun wünschte ich freylich, daß sie mir das honorar für diese 3 werke[4] früher anweisen als sie in Leipzig ankommen, ja wenn sie es sogleich hier anweisen wollten, würde es mir sehr lieb seyn--wir sind hier in geldes Noth,[5] dann, wir brauchen zweimal so viel als sonst -- verfluchter Krieg -- . . .
leben sie wohl ich habe nicht viel Zeit als ihnen zu sagen, daß ich mich nenne ihr ergebenster
Beethowen
Nb: vergessen sie nicht auf meine Bitte wegen dem Gelde --
An Breifkopf und Hertel in Leizpig
Beethoven to Breitkopf & Härtel in Leipzig
Vienna, on the 19th wine month [=September] 1809[1]
My most honoured Sir,
To your letter of the 21st of August[2] I replied that I am well satisfied if you will also pay me some items, although not many, in Viennese Couraant (currency)t,[3]--the three works have already been sent off, now I would certainly wish that you woulld send me the fee for these three works[4] earlier than they will arrive in Leipzig, well, if you wanted to make it out here, right away, I would very much appreciate it--here, we are in money straights[5] for we need twice as much as usual--damned war-- . . .
farewell I do not have more time than to tell you that I am your most devoted
Beethowen
PS: do not forget my request with respect to the money--
To Breifkopf and Hertel in Leizpig
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 400, p. 81-82]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [1]: refers to the name "Weinmonat" for October, that Beethoven, however, also used for September; to [2]: refers to Letter No. 398; to [3]: refers to the fact that Beethoven had asked for payment in convention money; to [4]: refers to op. 72, op. 85 and op. 86; to [5]: refers to the tightness of money in Vienna during the inflation and the contribution demands by Napoleon in the summer of 1809; details taken from p. 82].
Breitkopf & Härtel an Beethoven
[Leipzig, 25. Oktober 1809]
[Inhalt laut GA nicht bekannt.[1]]
Breitkopf & Härtel to Beethoven
[Leipzig, October 25, 1809]
[According to the GA, the content of this letter is not known.[1]]
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 406, p. 87]
[Original: not known, pursuant to GA, existence of letter derived from the registration note on Letter No. 400; according to the GA, with this letter, the publisher probably accepted Beethoven's request (Letter No. 400 of September 19, 1809), to send off the fee already before the arrival of the manuscripts in Leipzig for op. 72, op. 85 and op. 86; details taken from p. 87].
Beethoven an Breitkopf & Härtel in Leipzig
[Wien,] Mittewoche am 22ten Wintermonath [=November] 1809[1]
Ich schreibe ihnen endlich einmal -- nach der wilden Zerstörung einige Ruhe,[2] nach allem unerdenklichen ausgestandenen Ungemach -- Arbeitete ich e[i]nige wochen hintereinander, daß es schien mehr für den Tod als für die Unsterblichkeit --
. . . -- ich habe keine Nachricht, ob sie meine 3 Werke [6] erhalten? sie müßten wohl jezt geraume Zeit bey ihnen seyn --
was sagen sie zu diesem Todten Frieden?[8] -- ich erwarte nichts stetes mehr in diesem Zeitalter, nur in dem Blinden Zufall hat man Gewißheit -- leben sie wohl mein geehrter Freund und laßen sie mich bald wißen, wie sie leben und ob sie die Werke erhalten --
ihr ergebenster Freund
Beethowen
Beethoven to Breitkopf & Härtel in Leipzig
[Vienna,] Wednesday on the 22nd winter month [=November] 1809[1]
Finally, I am writing to you--after the wild destruction some calm,[2] after all unthinkable ordeals--I worked consecutively for some weeks, so that it appeared more for death than for immortality--
. . . -- I have no news whether you have received my three works[6]? they should have arrived some time ago--
what do you say to this dead peace?[8]--I do not expect anything constant from this age, anymore, only in blind coincidence does one find certainty--farewell my honored friend and let me know, soon, how you live and whether you have received the works--
your most devoted friend
Beethowen
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 408, p. 89-90]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [1]: refers to the date according to the registration note; to [2]: refers to the peace treaty of October 14, 1809; to [6]: refers to op. 72, op. 85 and op. 86; to [8]: refers to the fact that, in spite of the peace treaty, the French troops remained in Vienna; details taken from p. 90].
Breitkopf & Härtel an Beethoven
[Leipzig, 28. November 1809]
[Laut GA bestätigt der Verlag den Empfang der Stichvorlagen zu op. 72, op. 85 und op. 86 und sendet einen Wechsel über 500 Gulden Wiener Bankozettel als Honorar.]
Breitkopf & Härtel to Beethoven
[Leipzig, November 28, 1809]
[According to the GA, the publisher confirms the receipt of the manuscripts to op. 72, op. 85 and op. 86 and sends a draft for 500 florins as fee.]
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 410, p. 93]
[Original: not known, existence derived from the registration note on Letter No. 408 and from Letter No. 419].
Beethoven an Breitkopf & Härtel in Leipzig
Wien am 2ten Jenner 1810
Kaum genesen -- warf mich meine Krankheit wieder 2 Wochen lang vonneuem nieder[1] --- ist es ein Wunder -- wir haben nicht einmal mehr gutes genießbares Brod -- das beygefügte zeigt den Wechselkours von Sonnabend,[2] da ich ihren Brief erhalten,[3] die Summe von 250 (zweihundert fünfzig fl.) +in Konwenzions-Münze=[4] ist schon lange als Deponirte Summe, worüber ich nicht mehr ,hier> Herr bin an jemand andern abgetreten, daß ich nicht wüßte auf welche Art immer dieses silberGeld zu verschaffen, Mein Bruder[5] ist nicht hier, dieser hätte hierin vileicht noch mittel treffen können, den mir geschikten Wechsel in silber Geld zu verwandeln, einer meiner Freunde der Wechsler ist,[6] erzählte ich heute den Fall, und er sagte, daß nichts anders zu thun sey, als ihnen den Wechsel zurück zu senden, indem sich der Kours jeden Augenblick änderte, und zu erwarten Stünde daß das silberGeld noch mehr steige, und man jezt beynah nicht den Kours bestimmen könnte[7] -- Ich ersuche sie daher, Wie Es Verabredet, mir die 250 fl., in KnwenzionsMünze <oder> z.B. in Zwanziger hier bey Hr. Hunz und Kompa[nie] auszahlen zu laßen, indem ich dieselbe Summe schon vor ziemlich langer Zeit dieselbe Summe an jemand übertragen, und Verbunden bin dieselbe in Silbergeld wieder zurück zu erstatten -- lieb dörfte es mir seyn, wenn sie dieses sobald als möglich thun wollten, denn schon lange wartet dieser drauf, indem ich immer geglaubt, daß die Werke geschwinder ankommen würden -- für heute bin ich zu schwach auf ihr angenehmes Schreiben mehr zu antworten, doch in einigen Tägen über alles andere in ihrem Briefe --
halten sie lieb ihren ergebensten
Beethowen
Beethoven to Breitkopf & Härtel in Leipzig
Vienna, the 2nd of January, 1810
Hardly recuperated--my illness threw me down for two weeks, again[1]--it is a miracle--we do not even have good, edible bread, anymore--the attached shows the exchange rate of Saturday,[2] since I have received your letter,[3] the sum of 250 (two hundred and fifty fl.) +in convention money=[4] has already, as a deposited sum, of which I am no longer the master, been turned over to someone else, so that I would not know in whatever way to get this silver money, My brother [5] is not here, he might, perhaps, have been able to find means to exchange the draft sent to me into silver, today, I told this case to one of my friends who is a money exchanger,[6] and he said that nothing else can be done than sending the draft back to you, since the exchange rate is changing, any moment and since it is to be expected that the rate for silver will still increase, and that at this time, one can almost not determine the rate[7]--Therefore I ask you to send me the 250 fl. in convention money as agreed upon <or> for example to pay them out in twenties here at Hr. Hunz and Company, since, already a long time ago, I have turned this sum over to someone else and since I am obliged to replace the same in silver money--I would appreciate it if you would to this as soon as possible, since the other party has been waiting for it for a long time, since I have always believed that the works would arrive quicker--for today, I am too weak to reply in more detail to your pleasant letter, but in a few days more with respect to everything else in your letter--
keep in favor your most devoted
Beethowen
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 419, p. 101 - 102]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer, to [1]: refers to Beethoven's fever of December, 1809; to [2]: refers to the fact that the attachment has not been preserved; to [3]: probably refers to Letter No. 410 of November 28, 1809, that has not been preserved; to [4]: refers to the originally agreed upon fee for the publication rights to op. 72, op. 85 and op. 86; to [5]: refers to Kaspar Karl van Beethoven; to [6]: probably refers to Franz Oliva; to [7]: refers to Beethoven's agreement that part of the fee can be paid in Viennese "Bankozettel" (paper money); details taken from p. 102].
Breifkopf & Härtel an Beethoven
[Leipzig, 10. Januar 1810]
[Laut GA schickte der Verlag einen Wechsel über 250 Gulden Konventionsmünze als Ersatz für den zurückgewiesenen Wechsel über 500 Gulden Wiener Bankozettel und fügte eine von Beethoven zu unterzeichnende Quittung über den Empfang des Honorars für op. 72, op. 85 und op. 86 bei. . . . ]
Breifkopf & Härtel to Beethoven
[Leipzig, January, 1810]
[According to the GA, the publisher sent a draft for 250 florins in convention money as replacement of the returned draft for 500 florins in Viennese Bankozettel [paper money] and added a receipt that Beethoven was supposed to sign for the receipt of the fee for op. 72, op. 85 and op. 86. . . . ]
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 420; p. 103]
[Original: not known, existence derived from the registration note on Letters No. 419 and 423].
Beethoven an Breitkopf & Härtel in Leipzig
Vien am 4ten Februar 1810
Ich hoffe Sie Werden den Wechsel Von 500 fl., welchen sie mir geschikt, schon wieder zurückerhalten haben,[1] und bitte sie mir hierüber zu antworten -- . . . -- sollte sich nicht auf die Messe ein deutscher Text jedoch ohne <das> den lateinischen auszulaßen, machen laßen[3] -- die Orgelstimme von der Meße schicke ich ihnen Insbesondre noch nach,[4] wenn sie sonst sie nicht schon gestochen haben, ich mögte sie auf eine andere Art als bisher bey der Meße erscheinen laßen, ist aber daß sie selbe schon gestochen, so muß mans diesmal so hingehen lassen -- . . .
ganz ihr ergebenster Freund
Beethowen
Beethoven to Breitkopf & Härtel in Leipzig
Vienna the 4th of February, 1810
I hope that you have already received back the draft of 500 fl. that you had sent me,[1] and I ask you to reply to me with respect to this-- . . . --should it not be possible that the Mass receives a German text without leaving the Latin text out[3]--I will still send you, in particular, the organ part of the mass[4], if you have not printed the latter yet, I would like to see it printed in a different way than with the mass; however, if it (the mass) has already been printed, it has to be left as it is, this time-- . . .
entirely your most devoted friend
Beethowen
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 423, p. 105-107]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [1]: refers to the fact that Beethoven had sent the draft back with letter No. 419 of January 2, 1810; to [3]: refers to the fact that the publisher had engaged the theologian, Dr. Christian Schreiber (1781-1857), to write a German text that was published, together with the Latin text, in the original publication of op. 86, in October 1812l; however, the author of this text has not been named on the title page; to [4]: refers to the fact that this, in spite of several accnouncements, did not happen; details taken from p. 106-107].
Beethoven an Breitkopf & Härtel in Leipzig
Vien am 15ten Herbstmonath [= Oktober] 1810
Sehr Werther Herr!
. . .
. . . in einigen Tägen erhalten sie die orgelStimme zur Meße[14] . . .
Die Messe gewidmet dem Herrn von Zmeskall[18] hier mú_en noch einige <ungarisirte> anhängsel folgen, die mir in dem Augenblik nicht einfallen -- . . .
Beethoven to Breitkopf & Härtel in Leipzig
Vienna, on the 15th fall month [= Oktober] 1810
Very Esteemed Sir!
. . .
. . . in a few days, you will receive the organ part to the Mass[14] . . .
The Mass [to be] dedicated to Herr von Zmeskall[18] here, there still have to follow a few hungarianized additions that I can not think of, at the moment-- . . .
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 474, p. 162-165]
{Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [14]: refers to the fact that Beethoven had already promised this on February 4, 1810; to [18]: refers to the fact that, ultimately, the Mass was dedicated to Prince Ferdinand Kinsky; details taken from p. 164-165].
Breitkopf & Härtel an Beethoven
Leipzig, den 11. Novbr. 1801. [1810]
L.v.Beethoven in Wien
. . . Jeden Posstag habe ich dagegen gehofft, das zu dem Oratorio u. zur Messe noch Fehlende,[2] sowie auch die Sonate charact.[3] u. die übrigen Liedersamml.[4] zu erhalten. Ich gestehe Ihnen, daß es mir sehr unlieb ist, diese Sachen so lange erwarten zu müssen, da auf diese Weise nicht allein dieser Winter, mithin ein Jahr für diese Werke verloren wird, sondern auch die endliche Abmachung unseres Vergleichs darüber immer länger verzögert wird. . . . Wie lange ist schon das Orator. u. die Messe in meinen Händen u. doch noch unvollständig, so daß ich nichts damit anfangen kann. Ich bitte Sie angelegentlich, doch nun gütig zu sorgen, daß wir einmal in Richtigkeit kommen u. daß Ihnen die Plage einer längern Korrespondenz darüber u. mir das vergebliche Warten erspart werde. . . .
Breitkopf & Härtel to Beethoven
Leipzig, the 11th of Novbr. 1801. [1810]
L.v.Beethoven in Vienna
. . . Every post day I have hoped, however, to receive that which is still missing with respect to the Oratorio and the Mass,[2] as well as the Sonate charact.[3] and the other song collections[4]. I admit that I am not very pleased to have to wait for these things for so long, since in this way, not alone this winter, but an entire year will be lost for these works, but that also the fulfillment of our agreement is being delayed. . . . How long have the Oratorio and the Mass been in my hands without being completed, so that I can not do anything with them. I beg you instantly to ensure that we are arriving at par and that your are relieved from the trouble of a prolonged correspondence and so that I am spared from waiting in vain. . . .
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 477, p. 166 - 168]
[Original: not known, Text pursuant to Wilhelm Hitzig; to [2]: probably refers to the organ part to op. 86 and the trombone part to op. 85; to [3]: refers to op. 81a; to [4]: refers to op. 82 and op. 83; details taken from p. 167-168].
Beethoven an Breitkopf & Härtel in Leipzig
Vien am 16ten Jenner 1811
Hochgeehrter Herr!
Schreyen sie fluchen sie über den nicht schreibenden B. --
geben sie in Gottes Namen die Messe nur so heraus, ohne die OrgelStimme abzuwarten.[1] besser sie ist da, als daß sie doch durch nur eine unbedeutende Ursache länger zurückgehalten würde. -- ich hoffe jedoch in Partitur -- die Übersezung[2] zum gloria scheint mir sehr gut tu paßen zum Kyrie nicht so gut obwohlen der Anfang "tief im Staub anbeten wir" sehr gut paßt, so scheint mir doch bey manchen Ausdrücken wie <ewge>ew'gen Weltenherrscher" ["]Allgewaltingen" Mehr zum gloria tauglich. der allgemeine charakter (Bey solch einer übersezung sollte nur wie mir scheint der allgemeine Karakter jedes Stücks angegeben seyn) in dem Kyrie ist innige Ergebung, woher innigkeit religiöser Gefühle <der Karakter> "Gott erbarme dich unser" ohne deswegen Traurig zu seyn, santheit liegt dem Ganzen zu Grunde, hier scheint mir die Ausdrücke Allgewaltiger nicht im sinne des Ganzen obwohlen "eleison erbarme dich unser" -- so ist <je>doch heiterkeit im Ganzen, Der Katholike tritt sonntags geschmückt festlich Heiter in seine Kirche das Kyrie Eleison ist gleichfalls die Introdukzion zur ganzen messe, bey so starken ausdrücken würde wenig übrig bleiben für da, wo sie wirklich stark seyn Müßen -- . . .
über ihren Vorschlag einer <neu> Idee zu einem Neuen werk[9] nächstens so sie auch über meine Arbeiten -- leben ssie wohl auf der Deutschen Erde!!!!!! Kyrie eleison
ganz ihr Beethowen
Beethoven to Breitkopf & Härtel in Leipzig
Vienna on the16th of January, 1811
Highly Honored Sir!
Scream, swear about B. who is not writing.--
In God's name, publish the Mass as it is, without waiting for the organ part.[1] It is better if it is there, than if it is held back for an unimportant reason.--However, I hope in score--the translation [2] of the gloria appears to be very suitable, to me, but not of the Kyrie although the beginning "tief im Staub anbeten wir" ["deeply in the dust be pray to Thee"] fits very well, while some expressions such as <ewge>ew'gen Weltenherrscher" ["]Allgewaltingen" ["eternal ruler of the world" "all-powerful"] appear more suitable for the gloria; the general character (in the case of such a translation, it appears to me that only the general character of every piece should be indicated) in the Kyrie there is innermost devotion, therefore the innermost expression of religious feelings <the character> "Gott erbarme dich unser" ["God have mercy on us"] without, however, being sad, the basis of everything is softness, in this context, the expression "Allgewaltiger" (all-powerful] does not appear to suit the overall character, although "eleison erbarme dich unser [have mercy on us]"--yet, there is some serenity in the whole. On Sunday, the Catholic enters church in a festively-serene mood, the Kyrie Eleison is also the introduction to the entire Mass, and with such strong expressions (in it), there would remain few strong expressions for occasions where they really have to be strong-- . . .
with respect to your suggestion of a <new> an idea to a new work[9] at the next opportunity as well as with respect to my works--farewell on German soil!!!!!! Kyrie eleison
wholly your Beethowen
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 484, p. 176-177]
[Original: Washington, Library of Congress; to [1]: refers to the fact that Beethoven had promised a completed organ part to op. 86 to the publisher, several times, but that he did not deliver it; to [2]: refers to the German text of the Protestant theologian Dr. Christian Schreiber; details taken from p. 177].
Beethoven an Breitkopf & Härtel in Leipzig
[Wien, 19. Februar 1811]
P.P.
Wenn sie drauf bestehen, so will ich ihnen die Orgelstimme[1] doch schicken -- gleich Antwort. sie schreiben nichts, ob sie die Messe und oratorium in Partitur heraus geben, und Wann?[2]
hier der Verlangte Schein[3].--
Dr. Schreiber werde ich gern Danken für seine Übersezungen[4] --
Beethoven to Breitkopf & Härtel in Leipzig
[Vienna, the 19th of February 1811]
P.P.
If you insist, I will still send you the organ part[1]--reply immediately. You write nothing as to whether the Mass and the Oratorio will be published in score, and when?[2]
here the requested receipt[3].--
Dr. Schreiber I would like to thank for his translation[4] --
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 486, p. 179-181]
[Original: Bonn, Beethoven-Haus; to [1]: refers to op. 86, see Letter No. 484 of November 16, 1811; to [2]: refers to the fact that the score of the Oratorio was published in October, 1811, and that of the Mass only in October, 1812; to [3]: refers to the confirmation of ownership of all works that the publisher had acquired from Beethoven since 1808; to [4]: refers to the German texts to op. 86 and to the Italian songs, op. 82; details taken from p. 181].
Beethoven an Breitkopf & Härtel in Leipzig
Vien am 9ten 8ber [=Oktober]1811.
. . .
ihr
Ludwig van Beethowen
Wann erscheint die Meße?[19]
. . .
Beethoven to Breitkopf & Härtel in Leipzig
Vienna the 9th 8ber [=Oktober]1811.
. . .
your
Ludwig van Beethowen
When will the Mass be published?[19]
. . .
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 523, p. 214-218]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [19]: refers to the fact that op. 86 was published in October, 1812; detail taken from p. 218].
Beethoven an Breitkopf & Härtel in Leipzig
Vien am 28ten Februar 1812
. . .
-- die Missa, <was> wann wird sie den andächtgen Katholiken vorgelegt werden?[8] --
Beethoven to Breitkopf & Härtel in Leipzig
Vienna on the 28th of February, 1812
. . .
-- the Missa, <what> when will it be presented to the devout Catholics?[8] --
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 555, p. 245-247]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [8]: refers to the fact that the Mass was only published in October, 1812; detail taken from p. 247].
Beethoven an Breitkopf & Härtel in Leipzig
[Wien, um den 25. Mai 1812][1]
sogleich schicke ich die Messe[2], erzeigen sie mir nur ja nicht den schabernack, daß sie dieselbe großmüthig mit großen Fehlern geschmückt dem Publikum schenken--da sie so spät herauskommt, soll die Dedikation geändert werden, nemlich an Fürst Kynsky[3] das weitere Titularium deswegen erhalten sie -- Es muß so seyn -- . . .
Beethoven to Breitkopf & Härtel in Leipzig
[Vienna, around the 25th of May, 1812][1]
I will send you the mass, right away[2], do not dare to play the prank on me to generously present it to the public with major errors--since it is being published, late, the dedication is to be changed, namely to Prince Kynsky[3] you will receive further details with respect to the Titularium--It has to be thus-- . . .
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 577, p. 263-264]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [2]: refers to the fact that this would refer to a proof of the original editionof op. 86; to [3]: refers to Prince Ferdinand Kinsky, while before, the work was to be dedicated to Nikolaus Zmeskall or another lady; details taken from p. 264].
Beethoven an Breitkopf & Härtel in Leipzig
Tepliz am 17ten Juli (1812)
. . .
Die Korrektur von der Messe[2] werden sie erhalten haben -- ich habe beym Anfang des gloria stat c c Takt und verändrung des Tempo geschrieben, so war es anfangs angezei[g]t,[3] eine schlechte Aufführung, wobey man das Tempo zu geschwind nahm, verführte mich dazu, da ich nun die Meße lange nicht gesehn hatte, fiel es mir gleich auf, und ich sah, daß man so was denn doch dem Zufalle leider überlaßen muß -- im Sanctus können irgendwo <zeigen>angezeigt werden, daß man <die>bey den Enharmonischen Verändrung <mit>die been weglaßen könne, und statt dessen nur Kreuztöne beybehalte, nemlich (Notenbeispiel)
bey unsern Köhren konnte ich diese stelle nicht rein singen hören, ohne daß der Organist still den den [sic] 7timen accord angab -- bey ihnen mögen sie beßer seyn, -- gut wird es wenigstens seyn, orgendwo anzuzeigen, daß man statt den been die #ze so wie hier gestochen beygefügt werde -- . . .
Beethoven to Breitkopf & Härtel in Leipzig
Tepliz the 17th of July (1812)
. . .
The revision of the Mass[2] you will have received--at the beginning of the Gloria, instead of c c I have written the bar and change of Tempo, it was indicated thus, in the beginning,[3] a bad rendition in which the Tempo was taken too quickly, caused me to do so, and now, that I have not seen the mass for a long time, it occurred to me, right away and I saw what one unfortunately has to leave to coincidence--in the Sanctus it could be indicated that, at the Enharmonic change, the bee's could be left off and instead one could only retain the cross notes, namely (note sample)
from our choirs I could not hear this passage sung cleanly without the organist still indicating the chord of the seventh--your choirs might be better,--I will at least be good to indicate somewhere that, instead of the bee's the #'s should be added as here-- . . .
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe Vol. 2, Letter No. 586, p. 275-278]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [2]: refers to op. 86; to [3]: refers to bar or beat? indications in the authograph; details taken from p. 278].
Beethoven an Breitkopf & Härtel in Leipzig
Tepliz am 24ten Juli.[1812][1]
. . .
haben sie die Meße[8] schon >län>lange erhalten? ich will nicht sagen längst. . . .
Beethoven to Breitkopf & Härtel in Leipzig
Tepliz the 24th of July,[1812][1]
. . .
have you received the Mass[8] before long? I do not want to say a long time ago. . . .
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgab, Vol. 2, Letter No. 588, S. 279-280]
[Original: Düsseldorf, Goethe-Museum, Koppenberg-Stiftung; to [8]: verweist auf op. 86; detail taken from p. 280].
Breitkopf & Härtel an Beethoven
[Leipzig, 29. Juli 1812]
[Laut GA erbittet der Verlag den Text für die Dedikation der Messe op. 86.]
Breitkopf & Härtel to Beethoven
[Leipzig, the 29th of July, 1812]
[According to the GA the publisher requests the text for the dedication of the Mass, op. 86.]
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Letter No. 589, p. 281]
{Original: not known, existence derived from registration note on letter no. 588 of July 24, 1812, and the content from letter no. 591 of August 9, 1812].
Beethoven an Breitkopf & Härtel in Leipzig
Franzens Brunn bey Eger am 9ten aug. +das Klima ist so hier,
daß man schreiben könnte am 9ten November + 1812
Nur das Nothwendigste: Der titel zur Messe[1] fehlt ihnen, und mir ist manches zu viel, das badens, Nichts thuns, und etc. <alle> sonst übrigen Unvermeidlichen Zu und Auffälligkeiten bin ich müde -- . . .
<Dem> "Seine Durchlaucht dem Hochgebohrnen Fürsten Kynsky" so was ähnliches mag der titel in sich enthalten -- und nun muß ich mich enthalten ferner zu schreiben . . .
Beethoven to Breitkopf & Härtel in Leipzig
Franzens Brunn near Eger the 9th of Aug. +the climate here is such,
that one could write the 9th of November + 1812
Only the most necessary: You are lacking the title to the mass[1], and to me, a great deal is too much, of taking the baths, of doing nothing, etc. <all> other usual unavoidable occurrences and coincidences I am tired of-- . . .
<To> "His Serene Honorable Prince Kynsky" or something like that should be contained in the title--and now I have to refrain from writing further . . .
[Source: Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. 2, Brief No. 591, p. 285 - 289]
[Original: Bonn, Beethoven-Haus, Sammlung Bodmer; to [1]: refers to the fact that Beethoven had already conveyed the dedication but without particulars; detail taken from p. 289 ].
To the conclusion of this correspondence can be added that also Thayer (p. 548) describes the work as having been published by Breitkopf & Härtel in the year 1812.With respect to further performances of the Mass in C major during Beethoven's lifetime, we can report of the following:
1. A performance of the Mass at Prince Lichnowsky's palace in Troppau on September 23, 1811, where Beethoven went after the end of his stay at Teplitz; as Thayer (p. 516-517) reports, the rehearsals took three days, and all musicians of the area were engaged in it. After the performance, Beethoven reportedly still improvised at the organ, to the amazement of everyone;
2. One of 18 performances of Gebauer's Concerts Spirituels of the first season of 1819/1820, in which the Mass in C major was reportedly performed (Thayer: 771);
3. A performance of the Mass in Vienna's Karlskirche on September 18, 1825, at which, as Thayer (p. 969) reports, Sir George Smart was also present.
From Beethoven's life time, we are fortunate to have E.T.A. Hoffmann's insightful 1813 AMZ review available for our reading enjoyment and consideration:
In addition, we might also wish to take a look at Barry Cooper's contemporary comment:
"Beethoven composed it with some apprehension--not so much because it was his first church work (apart from some unpublished accompaniments for the Lamentations of Jeremiah, c. 1791) but because he was aware of inevitable comparisons with Haydn. Accordingly he deliberably set the text in a manner in which it had rarely been treated (as he later told his publisher); and although he copied two short sections of Haydn's 'Creation' Mass (1801) into his sketchbook while working on the Mass in C, the work as a whole is quite unlike any of Haydn's, despite superficial similarities. It contains several bizarre ideas, such as beginning the entire work with a bar for unaccompanied chorus basses (recalling the unaccompanied timpani opening of the Violin Concerto); and the opening instrumental figure in the Credo is said by Czerny to have been based on a village musician's bungled attempt at an arpeggio. Among the most innovative features is the wide range of keys. This is signalled as early as the 'Christe', which is in E major, like the second subject of the 'Waldstein' Sonata and both of the Leonore overtures thus far completed. Key contrast is continued with a 'Qui tollis' in F minor, 'Et incarnatus' in E flat major, Sanctus in A major, Benedictus in F major (followed by a return to the Osanna in A), and Agnus Dei in C minor. The return of the opening music at the end of the 'Dona nobis pacem' is also striking, although there were precedents for this" (Cooper: 171).
After all this reading material with respect to this work, we might wish to relax by enjoying some of the listening samples that can be accessed via the following link:
Did these listening samples entice you to listen to the entire work? If that is the case, such a listening enjoyment might provide you with an opportunity to find your own answer to our initial question as to whether there can be found traces of Beethoven's spiritual growth after his crisis at the beginning of this decade. With this thought in mind we want to move on to taking a look at Beethoven's further development towards his composition of the Missa solemnis.