“Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824,” in: Bonner Beethoven-Studien 10 (2012): 139-188.

Rita Steblin

Beethoven's lessons in Vienna with Haydn, Albrechtsberger, and Salieri are well known, but considerably less has been wri en about his earlier studies in Bonn. This article examines what Beethoven may have learned from two treatises that Gustav No ebohm (1873) connected to Beethoven's Bonn manuscripts: Johann Philipp Kirnberger's Die wahren Grundsä e zum Gebrauch der Harmonie (1773) and Georg Joseph Vogler's Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776, revised in 1778). I corroborate the evidence that links these treatises to Beethoven, analyze and categorize their contents, and suggest some parallels between materials in these treatises and Beethoven's Bonn works including his "Elector" piano sonatas (WoO 47; 1783) and his two unusual preludes for piano or organ (op. 39; 1789, published in 1803). From what we know of Beethoven's studies in Vienna, several pillars of standard eighteenthcentury musical education are missing: the study of solfeggio, thoroughbass, and harmony. This article makes the case that Beethoven encountered this training in Bonn. From Kirnberger's Grundsä e, he would have learned about the fundamental bass, harmonic function and progression, and the principles of prolongation. In Vogler's book, he would have encountered solfeggio exercises, common thoroughbass pa erns including the Rule of the Octave, invertible sequences, diminution pa erns, modulations schemes to every key, the fundamental bass, and more. Although these two treatises were not the only books Beethoven likely studied in Bonn, they offer probable windows into his formative lessons in music theory, improvisation, and composition.

Beethoven is moving steadily rightwards. After a century or so of criticism that has taken Beethoven's revolutionary convictions and Enlightenment utopianism for granted, the last decade of Beethoven scholarship has wit-nessed the beginnings of a revisionist trend. Most importantly, several schol-ars have given unprecedented critical attention to the neglected group of compositions that Beethoven composed in the reactionary political climate of the Congress of Vienna-the notorious Wellingtons Sieg foremost among them. 1 With Stephen Rumph's splendid new book, this revisionist sensibil-ity has finally blossomed into a thesis: Beethoven's late music, argues Rumph, partakes of the counterrevolutionary politics, nostalgic medievalism, and anti-Enlightenment attitudes of German "political Romanticism." Rumph gives us a Beethoven more at home with Friedrich Schlegel than Immanuel Kant.

Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 Rita Steblin, Wien Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 In the course of research on Paul Wranitzky, as well as on Schubert’s early teacher Michael Holzer, I ploughed through some of the considerable archival materials belonging to the venerable Viennese organization known as the Tonkünstler-Societät.1 In so doing, I came across several mentions of Beethoven’s name. Some of these are known, but they are usually cited without the immediate context. Several others appear to be unknown – and have surprising implications. Wishing to share these documentary citations without inordinate delay, I will present here a literal transcription of these excerpts in chronological order, together with my brief commentary. I will also give a few examples of what this archival source reveals about various members who at times were closely involved with Beethoven. The hope is that other scholars will be encouraged by the new information revealed here to examine this documentary source for their own research. To begin with, here is a cursory introduction to this society and its archival materials. The Tonkünstler-Societät was the oldest organization of professional musicians in Vienna and at the same time the first public institute to hold concerts.2 It was founded in 1771 by Florian Leopold Gaßmann (1729–1774) as a charitable organization with the main purpose of raising money to support the widows and orphans of deceased members. Active musicians who were accepted as members paid an initial fee of 300 fl. (Gulden) and annual dues of 12 fl. The society normally held four benefit concerts each year, two during Lent and two during Advent. These usually featured an oratorio, which was repeated on the two evenings. All members were required to participate in these mammoth concerts, and guest virtuosos often performed in the interval between the two halves of the choral work. In the early nineteenth century, Haydn’s oratorios were presented most often, since they brought in the most revenue, and in 1862 the society was renamed “Haydn, Witwenund Waisen-Versorgungs-Verein der Tonkünstler in Wien.” 1 I wish to thank Helene Starzer (Linz), who is writing a doctoral dissertation on the Glöggl family of musicians, for suggesting that I examine these documents for further information on Wranitzky. My initial interest in Wranitzky was sparked by a request from Daniel Bernhardsson and Gerrit Waidelich to conduct new research on this important Classical-era composer. My article Paul Wranitzky (1756–1808): New Biographical Facts from Vienna’s Archives will appear in: Mozart Studien 21 (2012). 2 See Eduard Hanslick, Geschichte des Concertwesens in Wien, Wien 1869, p. 6. The first chapter (pp. 3–35) of Hanslick’s important history of concert life in Vienna summarizes the first thirty years of the Tonkünstler-Societät’s existence. He concludes this chapter with a list of the concerts held between 1772 and 1801, and mentions Beethoven twice here: “1795. Gemischtes Concert. Gioas, Oratorium von Cartellieri, erster Theil, Sinfonie von Cartellieri, Clavierconcert in C, componirt und gespielt von Herrn van Beethoven” and “1798. ,Die Worte des Heilands‘, von Josef Haydn. (Dazu Sinfonie von Eybler, Clarinettconcert von Beer (am 2. Abend spielte Beethoven sein Quintett mit Oboe, Clarinett und Horn).” 139 Rita Steblin On the occasion of the society’s first centenary in 1871, Carl Ferdinand Pohl wrote an admirable history of the organization.3 This Denkschrift goes beyond Eduard Hanslick’s 1869 account of concert life in Vienna in giving more details about the society’s meetings and academies. Pohl also includes various lists: of the officers, of the members (including their dates of birth, membership entry, and death or expulsion from the society) and of the pensions paid out. This is the source of information about the society that has served most of the secondary literature to date.4 The “Haydn-Verein” continued to play an important role in Vienna’s musical life until it was forced by the Nazis to disband on 9 March 1939.5 The surviving concert programs were subsequently given to the Gesellschaft der Musikfreunde, and the music scores, including the original parts to Haydn’s Creation, were deposited in the Vienna City Library.6 The remaining archival records were sent to the Wiener Stadt- und Landesarchiv (A-Wsa) in May 1939. Almost twenty years later, in May 1958, they were organized and catalogued by City archivist Hanns JägerSunstenau (1911–2008).7 These materials are housed today in the A-Wsa (Gasometer complex) under the call number Haydn-Verein, in many large boxes of mainly loose documents (A 1/1a to A 4/8) and in numerous bound books (B 1/1 to B 7/7). Pohl summarized Beethoven’s concert appearances for this society as follows: “Am 29. März 1795 spielte Beethoven sein erstes Clavierconcert C-dur op. 15. Es war das erstemal, dass der Meister in Wien öffentlich auftrat. Im J. 1797 wurde von ihm ein Terzett mit Variationen für 2 Oboen u. engl. Horn aufgeführt (op. 87. Breitkopf und Härtel, Ges. Ausgabe, Serie 8. Nro. 5); 1798 spielte er wieder selbst sein Clavier-Quintett op. 16 und half durch seine Bereitwilligkeit der Societät aus einer augenblicklichen Verlegenheit; 1817 wurde sein Oratorium ‚Christus am Oelberg‘ und die A-dur Sinfonie aufgeführt.”8 3 Carl Ferdinand Pohl, Denkschrift aus Anlaß des hundertjährigen Bestehens der Tonkünstler-Societät, Wien 1871. 4 A doctoral dissertation was completed recently at the University of Vienna on the history of the Tonkünstler-Societät, advised by Theophil Antonicek. See Claudia Pete, Geschichte der Wiener Tonkünstler-Societät, Universität Wien: Ph.D. dissertation, 1996. This dissertation is now cited as the only reference item in an article about the “Haydn-Verein – Wiener Tonkünstler-Societät” that has been placed on the web by the Wiener Stadt- und Landesarchiv (Magistratsabteilung 8). Unfortunately, Pete in the main just paraphrases Pohl. Even her appendices – a list of society members, including the dates when they joined, and a list of the widows drawing pensions – are basically copied from Pohl. She provides virtually no new information from the copious minutes of the sessions, or from the other accompanying materials (“Beilagen”, “Rechnungen”, etc.), and one is left with the impression that these archival materials have already been fully exhausted as a research source. 5 See Hanns Jäger-Sunstenau, Die Archive der Wiener Tonkünstler-Versorgungs-Vereine “Haydn” und “Czerny”, in: ÖMZ 16 (1961), pp. 77–79, at p. 78. 6 Ibidem, p. 78: “Ein großer Bestand von Noten, darunter alten Stimmen zu Haydns ‚Schöpfung‘ mit Originaleintragungen des Meisters, konnte gerade noch vor seinem Abtransport zur Altpapierverwertung gerettet und durch die Musiksammlung der Wiener Stadtbibliothek übernommen werden.” 7 Ibidem, p. 78: “Eine genaue Ordnung, Aufnahme und Verzeichnung der Archivalien erfolgte dann im Mai 1958.” See also Wiener Stadt- und Landesarchiv (A-Wsa) Behelf 2.9: 55/1 B, Private Institutionen, Gruppe 1: 2. Haydn-Verein, pp. 2–6, typescript written by Jäger-Sunstenau on 8 August 1962, and the more legible list in Pete’s dissertation (see footnote 4), pp. 126–129. 8 Pohl, Denkschrift (see footnote 3), p. 49. 140 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 Some of the Beethoven works identified by Pohl have subsequently been proven to be false (see the discussion below). For the sake of convenience, Table 1 gives my own summary of how Beethoven’s name is mentioned in these archival materials (see p. 170f.). 1795. Concert on March 29: C Major Concerto (op. 15) and on March 30: Improvisation The main work on both 29 and 30 March 1795 was the oratorio Gioas, König in Judäen by Antonio Cartellieri (1772–1807), a young composer studying with Antonio Salieri (1750–1825). On the first evening, in the interval between the two oratorio halves, a new symphony by Cartellieri was performed, followed by a new piano concerto by Beethoven. Much ink has been spilled in the literature about which concerto Beethoven presented at his first Viennese concert appearance.9 Thayer maintained already in 1866 that this was the one in C Major (op. 15).10 His information came from Franz Gerhard Wegeler’s anecdote about a rushed rehearsal involving an out-of-tune piano in Beethoven’s room.11 But, after Gustav Nottebohm determined through his sketch studies that the C major Concerto was not yet finished in late March 1795, this was revised in the Thayer-Deiters-Riemann edition of 1917 as follows: “Hier waltet eine Verwechslung Wegelers ob. Das Konzert, welches Beethoven am 29. März 1795 spielte, war nicht das in C-dur (Op. 15), welches damals noch nicht fertig war, sondern aller Wahrscheinlichkeit nach das in B-dur (Op. 19).”12 Thus, much of the recent secondary literature has cited the key of the concerto as B-flat major.13 However, Hans-Werner Küthen has now convincingly explained, in his 1984 critical report for the new Complete Edition of the first three piano con- 9 A facsimile of the concert playbill for the first evening, 29 March 1795, is included in BGA vol. 1, p. 29. The entry about Beethoven reads: “Ein neues Konzert auf dem Piano-Forte, gespielt von dem Meister Herrn Ludwig von Beethoven, und von seiner Erfindung.” 10 Alexander Wheelock Thayer, Ludwig van Beethoven’s Leben, vol. 1, Berlin 1866, p. 294f. 11 WegelerRies/Notizen, 1838, p. 36: “Erst am Nachmittag des zweiten Tages vor der Aufführung seines ersten Concerts (C dur) schrieb er das Rondo und zwar unter ziemlich heftigen Kolikschmerzen, woran er häufig litt. Ich half durch kleine Mittel, so viel ich konnte. Im Vorzimmer saßen vier Copisten, denen er jedes fertige Blatt einzeln übergab. Hier sei mir noch eine Abschweifung erlaubt. Bei der ersten Probe, die am Tage darauf in Beethoven’s Zimmer statt hatte, stand das Klavier für die Blaseinstrumente einen halben Ton zu tief. Beethoven ließ auf der Stelle diese und so auch die übrigen, statt nach a, nach b stimmen und spielte seine Stimme aus Cis.” 12 TDR 1, p. 399. See also Thayer’s Life of Beethoven, ed. by Elliot Forbes, Princeton 1967, p. 174. 13 See, for example, Theodore Albrecht, Letters to Beethoven and Other Correspondence, 3 vols., LincolnLondon 1996, vol. 1, p. 46: “Beethoven had first appeared [...] at the society’s Easter concerts on March 29 and 30, 1795, playing his Piano Concerto in Bb, Op. 19, on the former and improvising at the piano on the latter.” 141 Rita Steblin certos, that Wegeler’s account should be trusted: the work performed by Beethoven on 29 March 1795 must have been an early version of the C major Concerto.14 Concerning the repeat performance of Gioas on 30 March 1795, Nottebohm revealed already in 1887 that, according to the society’s Sitzungsprotokolle (the minutes of the 8 May 1795 meeting), Beethoven had improvised on the pianoforte.15 For the whole entry concerning Beethoven in these minutes, see the accompanying “Chronological List.” I have also included here the discussion from the immediately preceding meeting on 31 January 1795 to show how the presiding officers decided which choral work would be performed at the Lenten concerts. The society was headed by an aristocratic “Präses” or “Protector” – the same person who served as “Hofmusikgraf ” for the Hapsburg court. In 1795 this was Graf Johann Wenzel von Ugarte (1748–1796). However, the actual head was the “Vicepräses”: from 1788 to 1824, thus the period involving Beethoven, this important position was held by Hofkapellmeister Salieri. Thayer assumed that Salieri was responsible for having selected his own students – Cartellieri and Beethoven – to be featured at this concert.16 The choice of items to be offered in the interval was probably made after the January meeting, since they are not mentioned in the minutes. Also influential in running the organization’s affairs was Paul Wranitzky (1756– 1808). Born and educated in Moravia before coming to Vienna in 1776 to study theology, he was appointed conductor of the Court Theater in 1785, and served as the Tonkünstler-Societät secretary for the 13 years between 1794 and 1807. The minutes during this period are usually in his hand and show both his intelligence and warm personality. In between the two Sitzungsprotokolle I have inserted the summary of the concert from the General-Ausweis that was compiled in 1839 by the later Society secretary Stephan Franz (1785–1855).17 This gives a slightly different wording from the list of academies that was published by Pohl – and thus is a new documentary source. 1797. Meeting on January 20 and Concert on December 23: Variations (WoO 28) The only mention of Beethoven’s name in the handwritten index to the minutes (located in box A 2/1 and covering the years 1771–1806 and 1814–1820)18 occurs 14 NGA III/2, Klavierkonzerte I, Kritischer Bericht, München 1984, pp. 5–6. 15 Nottebohm/Beethoveniana II, p. 71. See also TDR 1, p. 400. Pohl (see footnote 3) does not mention Beethoven’s improvisation. 16 TDR 1, p. 399. 17 A-Wsa, Haydn Verein B 1/8: “General-Ausweis der von der Tonkünstler-Gesellschaft seit ihrer Entstehung im Jahre 1771. zum Besten ihres Witwen und Waisen Pensions-Fondes abgehaltenen musikalischen Academien in dem \k. k. Hofoperntheater und/ k: k: Hofburgtheater, nebst Benennung der Individuen, welche dabey die Soloparte vorgetragen haben, und der stattgehabten nach Abzug aller Ausgaben sich ergebenen reinen Erträgniß. Verfaßt im Jahre 1839 von Stephan Franz, Instituts-Sekretär.” 18 The names that are noted in this index usually involve only members of the Society. There is no index for the years 1807 to 1813 and thereafter (1814–1820) the entries are very sparse. Thus, researchers 142 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 under the category “B” for “Briefe” and lists Beethoven along with Joseph Haydn, Leopold Anton Koxeluch, Joseph Weigl, Franz Xaver Süßmayr, Anton Wranitzky and Adalbert Gyrowetz as having received a letter, formulated by Paul Wranitzky, that offered these famous composers a free pass to all future Tonkünstler-Societät concerts in return for services they had already rendered or for their possible future benevolences. The actual letter sent to Beethoven has survived and is located at the Bonner Beethoven-Haus. Since the text has already been included in the Briefwechsel Gesamtausgabe – as well as Wranitzky’s directive from the minutes of the session on 20 January 1797 – the “Chronological List” gives the entry in a reduced form only. Concerning the concert on 23 December 1797, Thayer’s chronological catalogue from 1865 identified the Beethoven work performed as the “Trio für 2 Oboen und englisches Horn. C dur. op. 87”.19 Pohl then repeated this identification in his Denkschrift of 1871: “ein Terzett mit Variationen für 2 Oboen u. engl. Horn aufgeführt (op. 87) [...].”20 However, Nottebohm determined in 1887 that the piece heard at the second December concert was not the Trio op. 87, but rather the Variations (WoO 28) on “Là ci darem la mano” from Mozart’s Don Giovanni. Nottebohm was able to supply documentary proof, citing the surviving concert playbill and pointing to Thayer’s error as follows: “Auf dem Concertzettel, der an jenem Tage von der Wiener Tonkünstlergesellschaft im k. k. National-Hoftheater gegebenen Akademie, ist als achte Nummer angegeben: ‚Terzett mit Variationen aus der Oper Don Juan auf zwey Hautboen und dem englischen Horn, von der Composition des Herrn van Bethofen, ausgeführt von den Herren Czerwenka, Reuter und Teimer, beyde letztere in wirkl. Diensten Sr. fürstl. Durchlaucht des regierenden Fürsten von Schwarzenberg.‘ Die an einigen Orten (z. B. in Thayer’s chronol. Verz. Nr. 52) zu findende Angabe, es sei damals das Blastrio op. 87 zur Aufführung gekommen, beruht auf einer Verwechselung.”21 The wind players who performed Beethoven’s Variations were the oboist Joseph Czerwenka (1759–1835), the oboist Reuter (employed by Fürst Schwarzenberg, but otherwise still unidentified) and the English horn player Philipp Teimer (1761– should not rely on this source, but need to search carefully through all the minutes in order to locate particular information. 19 Alexander W. Thayer, Chronologisches Verzeichniss der Werke Ludwig van Beethoven’s, Berlin 1865, p. 25, No. 52. 20 Pohl, Denkschrift (see footnote 3), p. 49. Because Pete (see footnote 4) copies Pohl, without having studied the Beethoven literature, she identifies the work performed on 23 December 1797 as op. 87. See her dissertation p. 87. 21 Nottebohm/Beethoveniana II, p. 31. A facsimile of this concert playbill is given in Theodore Albrecht, Die Familie Teimer sowie eine neuere (überarbeitete) Datierung der zwei Trios für zwei Oboen und Englischhorn (op. 87) und der Variationen WoO 28 von Ludwig van Beethoven, in: Wiener Oboen-Journal 24 (Dezember 2004), p. 10. The original document is located in the Theatermuseum, Wien. 143 Rita Steblin 1817).22 Both Czerwenka and Teimer were members of the Tonkünstler-Societät, and the minutes also provide biographical information about them. Here is a small digression to show some of this material. The protocol recording the meeting held on 22 October 1793 reveals that Joseph Czerwenka was accepted as a member of the Society on 16 November 1793: “Czerwenka Joseph /: geb: d 6ten Septembr: 1759 :/ erster Oboist bey Sr Durch: Fürst Esterhazy suchet an um Aufnahme in die Societät. [Conclusum:] Gegen Erlag der Stattutenmässigen Schuldigkeiten kann der Bittsteller auf den 16ten 9ber d: J: in die Societät eintretten. Exped: d 6ten 9ber a: c:”23 Philipp Teimer’s application to join the Society had been approved shortly before, as the minutes for the meeting held on 13 February 1793 make clear: “Teimer Philipp Mathäus /: geb: d 30te Aprill 1761 :/ Englischer Hornist bey /P: T:/ Sr Durch: Fürst v Schwarzenberg bittet um die Aufnahme in die Societät. [Conclusum:] Gegen Erlag der Stattutenmässigen Schuldigkeiten kann der Bittsteller auf den 15t Febr: a: c: in die Societät eintretten. Exped: d 14t Feb: a: c:”24 One sees here that these protocol records give the exact date of birth,25 as well as details about the candidate’s musical profession. Thus, this is an important documentary source for biographical research on musicians in Beethoven’s circle, and should be consulted to confirm birth dates where this information is otherwise unknown. Teimer was later reprimanded in writing several times for not showing up for academy performances, and in 1807 he was dismissed from the society.26 His name 22 For the latest biographical information about the English horn player and bass singer Teimer, see Theodore Albrecht, Philipp Teimer, Beethoven und das Englischhorn in Wien, 1793–1817, in: Wiener Oboen-Journal 25 (März 2005), pp. 3–9. 23 A-Wsa, Haydn-Verein A 2/1 Sitzungsprotokolle 1781–1800: 1793, Nr. 21. 24 Ibidem, 1793, Nr. 5. 25 Candidates for membership had to show their christening document. As is well known in the Mozart literature, Wolfgang Amadeus Mozart had applied for membership in the Tonkünstler-Societät on 11 February 1785, but – because he never presented his Taufschein – was not accepted into the society and so his widow Constanze’s request to receive a pension was rejected. Pohl, Denkschrift (see footnote 3), p. 17f. 26 See Haydn-Verein A 2/1 Sitzungsprotokolle 1781–1800: 1796, Nr. 4: “Herr Akademien Inspektor Phillip Schindlecker beklaget sich, daß die Sozietaets Mitglieder bey Erscheinung der Sozietaets Akademien so saumselig wären. [Conclusum:] Ist deßhalb an die von ihm genannte H: H: Phillip Teimer, Joseph Hoffmann, Koberwein, Scholl, Leitgeeb, eine schriftliche Ermanung in forma decreti zu zusenden”, and HaydnVerein A 2/2: Sitzungsprotokolle 1801–1830: 1807, Nr. 39: “Herr Schindlöcker Accademie Inspector zeugte an, daß bey denen am 22ten und 23ten Merz 1807. abgehaltenen Accademien, folgende Mitglieder ihre Pflicht auser Acht gelassen haben, als, zur ersten Probe sind nicht erschienen, Teimer, Schram, Herzig, Moeltzer, Sukowaty. Zur 2ten Probe, Teimer, Ruzizka Organist. Zur ersten Production, Teimer, Weigl Taddé, Lobpreis, Berger. Zur 2ten Production, Teimer, Weigl Taddé, Lobpreis, Berger, Sukowaty, Scholl; In betref benanter Mitglieder würde in der Seßion ddo 10ten April 1807. beschlossen, allen Ausschließung Decreten zuzuschicken [... Conclusum:] Herrn Teimer, Sukowaty, Berger, sind ausschliessungs Decreten zuzustellen. Die Decreten sind den 3ten Juny d: J: ausgefertiget worden. [...]” 144 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 was brought up again in 1818 in a case involving Franz Clement (1780–1842), the famous violinist and conductor: “Sessions Protocol den 12 Feb. [1818.] Nro 1mo Herr Klement Musik Director bey dem K. K. priv: Theater an der Wien, gab den 22 Decemb: 1817 eine Accademie, welche zum Nachtheil der Societäts Academie geschehen ist – Er, H: Klement als Mitglied der Löb: Societät hät es nicht thun sollen – Der verstorbene H: Teimer war, wegen ähnlichen Verfahren von der Societät ausgeschlossen, was soll mit H: Klement geschehen? [Conclusum:] Nach dem Paragraf 6ten zu behandeln.”27 The Beethoven Variations WoO 28 performed at the concert on 23 December 1797 have just appeared (in 2008) in the new Beethoven-Gesamtausgabe volume that contains the Kammermusik mit Blasinstrumenten (Abt. VI, Bd. I), edited by Egon Voss. The uncertain dates given here for “Josef Czerwenka (1759/62–1835/37)” and “Philipp Teimer (ca. 1763–1817)” need to be corrected.28 Had the Tonkünstler-Societät materials been consulted, precise birth dates for these woodwind performers could have been included in this edition. The “Chronological List” also includes two entries from November 1797 and January 1798 that mention Paul Wranitzky’s programmatic work Grande Sinfonie caractéristique pour la paix avec la Republique Françoise (op. 31) and the decree by Kaiser Franz forbidding its performance at the December 1797 Tonkünstler-Societät concerts. This battle symphony contains a funeral march in C minor, mourning the death of Louis XVI, and is considered to be a direct forerunner to Beethoven’s Eroica Funeral March.29 It is not known which Wranitzky symphony replaced this forbidden work at the two concerts in December. 1798. Concert on 2 April and Minutes dated 13 April: Piano Quintet (op. 16) Concerning the concert on 2 April 1798, there is no disagreement in the literature that the work performed by Beethoven was his Quintet in E flat for Piano and Winds 27 Haydn-Verein A 2/2: Sitzungsprotokolle 1801–1830: 1818, Nr. 1. The society’s statutes required that Clement be sent a written warning. Clement gave up his membership in the society on 1 February 1834. 28 See NGA VI/1, p. 363. Exact dates for Czerwenka had already been given in 2002 by Uwe Harten, Josef Czerwenka, in: Österreichisches Musiklexikon 1 (2002), p. 294: “* 6.9.1759 Benatek (Benátky/CZ), † 23.6.1835 Josefstadt (Wien)” and for Teimer in 2005 by Albrecht (see footnote 22), Philipp Teimer, p. 3: “Wir können nun bestätigen, dass Philipp Matthias Teimer nicht ca. 1763, sondern schon am 30. April 1761 in der Böhmischen Ortschaft Postelberg geboren wurde.” See also the four-part article by Theodore Albrecht: Joseph Czerwenka und seine Kollegen. Die Verwirrung bei der Identifizierung der Oboisten der Wiener Hoftheater zur Beethoven-Zeit, in: Wiener Oboen-Journal 35 (Oktober 2007), pp. 15–18, 36 (Dezember 2007), pp. 10–14, 37 (März 2008), pp. 3–8, and 38 (Juni 2008), pp. 4–11, available on the web. 29 See the discussion of Wranitzky’s piece and his friendship with Beethoven in Rita Steblin, Who Died? The Funeral March in Beethoven’s Eroica Symphony, in: The Musical Quarterly 89 (2006), pp. 62–79, at pp. 70– 72. 145 Rita Steblin (op. 16). This piece was completed in early 1797 and was first performed on 6 April 1797 at a concert arranged by Ignaz Schuppanzigh and held in Ignaz Jahn’s hall. Beethoven’s performance for the Tonkünstler-Societät and how this was mentioned in the minutes on 10 May [sic] 1798 have been extensively handled by Thayer-Deiters-Riemann: “Dann spielte es [Klavierquintett op. 16] Beethoven wieder am 2. April 1798 im zweiten Konzert der Tonkünstlergesellschaft zum Besten der Witwen und Waisen im National-Hoftheater. Auf dem Zettel heißt es: ,Den zweiten Abend spielt Herr von Beethofen von seiner Erfindung ein Quintett auf dem Pianoforte, begleitet mit einer Hautbois von Herrn Triebensee, Kapellmeister, und einer Klarinette von Herrn Beer, beyde in oben benannten Diensten des Herrn Fürsten (von Liechtenstein), dann mit einem Fagot von Herrn Matouschek und einem Waldhorn von Herrn Nickl.‘ ,Alle erhielten‘, wie die Wiener Zeitung in ihrem Bericht hinzufügt, ,den ungetheiltesten und lebhaftesten Beyfall.‘ Im Sitzungsprotokoll der Gesellschaft vom 10. Mai [sic] heißt es: ,den 2ten Tag hat H. van Bethoven ein Quintett produzirt, und sich dabey auf dem Pianoforte auch durchs fantasieren ausgezeichnet.‘ Dabey, also doch wohl im Stück selbst, wie er es nach Ries’ Erzählung (Notiz S. 79) auch später noch einmal zum Unbehagen der Mitspieler, aber zum Ergötzen der Zuhörer machte.”30 An error was made in the above explanation concerning the month of the Sitzungsprotokoll. This meeting was held on 10 March – not in May – 1798. Because Wranitzky wrote out the minutes on 13 April, he was actually making a report after the concert had taken place (hence the confusion in dates). Wranitzky’s additional comment about how Beethoven had agreed on the spur of the moment to help the “Akademie Inspector” out of a (programming) dilemma by performing the Piano Quintet is interesting. The concert organizer at this time – the person who approached Beethoven – was the cellist Phillip Schindlöcker (1753–1827). This musician was also mentioned later by Beethoven in a letter from ca. 1800/01, stating that because “schindlecker” was not available, he wanted Nikolaus Zmeskall von Domanovetz to play the cello part in a performance of the Septet op. 20 for Prince Odescalchi.31 From the minutes we learn that Wranitzky was convinced it was his own earlier initiative to give Beethoven a free ticket that had resulted in the composer’s willingness to participate in the April 2nd concert. 30 TDR 2, p. 46f. Ferdinand Ries had told an anecdote about how Beethoven, at a later performance involving the famous oboist Friedrich Ramm, introduced an improvisation in the Quintet that embarrassed the players, but delighted the audience. 31 BGA 52. 146 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 1804. Minutes dated 23 March: Christus am Oelberge (op. 85) The next mention of Beethoven in these documents involves his oratorio Christus am Oelberge and is found in the minutes (point No. 9) for the meeting held on 24 February 1804, but which were written out one month later, on 23 March (see Plate 1). Pohl summarized the passage as follows in his Denkschrift: “Das Oratorium hatte Beethoven schon im Jahre 1804 für die Fasten-Akademie der Societät angetragen; ‚unübersteigliche Hindernisse‘ aber vereitelten damals die Aufführung.”32 In order to interpret the events properly, some background information is necessary. Beethoven’s oratorio has been the centre of much controversy, both then and now.33 It was probably composed in the space of a few weeks, shortly before its first performance on 5 April 1803 in the composer’s benefit concert at the Theater an der Wien.34 The text was written by the politically-active librettist Franz Xaver Huber (1755–1814), with input by the composer himself. After critical reaction to the work, Beethoven made some changes in early 1804, adding a new chorus, and also embarked on the long negotiations with Breitkopf & Härtel to have the work published. This was finally achieved in October 1811. In the meantime, the work was performed a few more times in Vienna: at two concerts in the Augarten on 21 July and 4 August 1803, under the direction of Schuppanzigh, and at the Theater an der Wien on 27 March 1804, at a benefit concert for the singer Sebastian Meier (Mayer).35 The minutes stating that Christus am Oelberge could not be performed are dated 23 March 1804, but Beethoven must have requested that his music be returned to him before that date – in time for his work to be performed at Meier’s concert. However, as we shall see below, other aspects arise because of a hitherto unconsidered Tonkünstler document from 1807. To help set the context, I have again included several other excerpts, from 1803 and early 1804, that show how the society’s board decided which oratorio might be suitable for their concerts. Point No. 9 from the meeting on 12 March 1803 shows that the eccentric Polish composer Basilius von Bohdanowicz (1740–1817), who had been working for years on a mammoth setting of Klopstock’s Hermanns Schlacht for three choirs and three orchestras, requested that seven of the vocal numbers be performed at a Tonkünstler academy. The fact that he expected to receive part of the box office receipts probably disqualified his offer to begin with, but it is nevertheless interesting to know that he was 32 Pohl, Denkschrift (see footnote 3), p. 49. 33 For an excellent, comprehensive study of this work, see Anja Mühlenweg, Ludwig van Beethoven “Christus am Oelberge” op. 85. Studien zur Entstehungs- und Überlieferungsgeschichte, Ph.D. dissertation, Würzburg 2004, vol. 1, published on the web under http://opus.bibliothek.uni-wuerzburg.de/volltexte/2005/1239, accessed in January 2011. 34 The thesis presented in the article by Theodore Albrecht, The Fortnight Fallacy. A Revised Chronology for Beethoven’s Christ on the Mount of Olives, op. 85, and Wielhorsky Sketchbook, in: The Journal of Musicological Research 11 (1991), pp. 263–284, that Beethoven began to compose the oratorio already in the early fall of 1802, has not gained wide acceptance. It makes little sense to disregard Beethoven’s own words in this matter and then regard the work habits of small-town, late twentieth-century America as the standard with which to judge the compositional speed of the great genius Beethoven. 35 See the performance chart in Mühlenweg’s on-line dissertation (see footnote 33), p. 139. 147 Rita Steblin Plate 1: 1804, February 24 Meeting of the Tonkünstler-Societät, minutes dated March 23. Paul Wranitzky reports in point No. 9 that Beethoven had offered his oratorio Christus am Oelberge for a Society concert but insurmountable problems hindered its performance. 148 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 required to show his score to Salieri, Johann Georg Albrechtsberger (1736-1809) and Carl Friberth (1736–1816) for their opinions.36 The next excerpt – point No. 10 from the same meeting, involving the opera composer Ferdinando Paer (1771–1839) – is rather confusing. This famous Italian had come to Vienna in late 1797 and served as music director of the Kärntnertor-Theater for four years before moving to Dresden at Easter 1802. One year later he was back in Vienna and directed a performance of his oratorio Das heilige Grab, a “Cantate in wälscher Sprache” (Per il santo sepolcro), for the Tonkünstler-Societät concerts on 3 and 4 April 1803.37 The minutes for the 12 March 1803 meeting report that the board had at first decided to perform their trustworthy standard, Haydn’s Schöpfung, at the upcoming Lenten concerts in 1803. Then the discussion must have turned to the following year’s concert, and the secretary, Paul Wranitzky, suggested that they try to secure Paer’s oratorio “Passione di Jesu”38 – that is, Das heilige Grab – for 1804. But, then it was decided that – since Paer was already in Vienna at Easter 1803 – they would perform his work (instead of Haydn’s Schöpfung) in 1803. The confusion arose because Wranitzky, who was writing out the minutes on 12 April 1803, was reporting both the discussion that took place before the concerts and what actually happened. Concerning Paer, who composed an opera Leonora, ossia L’amor conjugale in Dresden in 1804, much has been written about his relationship to Beethoven and their possible rivalry, especially as Jean-Nicolas Bouilly’s story was much favoured by the Empress Marie Therese (1772–1807). John Rice has recently presented new documentary evidence suggesting that Beethoven was aware of Paer’s music, perhaps through the Empress, who had been sent a copy of the opera before its Dresden premiere in October 1804.39 Thus it is interesting that the minutes for the meeting held on 24 February 1804 report that it was the Empress who had promised the Society that she would secure Paer’s latest oratorio (Il trionfo della chiesa) to be performed at the 1804 Lenten concerts.40 However, because of various unexplained 36 In the minutes for the meeting held on 8 November 1805, under item No. 43, we learn that Bohdanowicz offered his work to the society once again: “H: Bohdanovitz schlägt der Sozietaet vor seine Composition Hermanns Schlacht bey ihrer Akademie aufführen zu lassen. [Conclusum:] Die Sozietaet dancket dem H: Verfasser, sie kann aber keinen Gebrauch davon machen.” 37 The cantata was sung in Italian although the playbill announced its name using the German translation. 38 Wranitzky was apparently using the generic term for an oratorio about Christ’s suffering on the cross, and so did not use the specific name of the oratorio by Paer that was actually performed: Das heilige Grab (in Italian: Per il santo sepolcro). It is also confusing because Paer later composed an oratorio named La passione di Gesu Cristo, first performed in Parma in 1810. 39 John A. Rice, Empress Marie Therese and Music at the Viennese Court, 1792–1807, Cambridge 2003, pp. 252–257. 40 According to John Rice, who examined letters from Paer to the Empress: “At the end of 1803 Grand Duke Ferdinand, now settled in Salzburg, sent Marie Therese a copy of Il trionfo della chiesa, which he had commissioned, and the copying of which he mentioned in a letter quoted in chapter 2. She thought of having the Tonkünstler-Sozietät perform it during its regular fundraiser the following Lent and began consultations to this effect with Paer and Salieri. When it became apparent that the performance could not be prepared in time (Die Schöpfung was performed instead) she arranged that Paer’s oratorio be given for the Wohlthätigskeits-Anstalten on 20 May (Pentecost).” See Rice, Empress Marie Therese, p. 177f. 149 Rita Steblin difficulties, Haydn’s Schöpfung was given instead. The next sentence then reports that “Beethoven too had the goodness to submit his oratorio Christus am Oelberge to the Society, but here too there were insurmountable difficulties.” H. C. Robbins Landon wrote at length about Beethoven’s “direct confrontation with Haydn” in composing an oratorio; Landon even went so far as to claim: “If there is a single monument to Beethoven’s angry pride towards Haydn, Christus am Ölberg is certainly one of the most dumbfounding candidates.”41 But, perhaps Beethoven was also in competition with Paer. A review that appeared in the Leipzig Allgemeine Musikalische Zeitung on 13 April 1803, written by Beethoven’s friend Andreas Streicher, reported: “Vienna, 6th April. In new works of musical interest there is (apart from an oratorio by Paer, which did not very much please) only the Oratorio by Beethoven, Christus am Oelberg, which was performed yesterday and received extraordinary approbation.”42 When Pohl cited the passage about Beethoven having offered his oratorio to the Society in 1804, he removed it from its immediate context in the minutes, and thus the connection with Paer was lost. 1805. January 25 Meeting: Wranitzky Proposes the Eroica Symphony and Triple Concerto On 18 January 1805, thus a week before the next meeting, held on 25 January, Wranitzky had mentioned Beethoven’s name among 17 composers, two librettists and two stage artists who now held free tickets to the Society’s concerts. When Wranitzky had proposed the initial idea in January 1797, Beethoven had been named together with six other composers (Haydn, Koxeluch, Weigl, Süßmayr, Anton Wranitzky and Gyrowetz). Although this is beyond the scope of the present article, it would be an interesting project to view the careers of all 21 persons named in 1805 – since these were the persons on Vienna’s music scene who had been singled out as being most worthy to receive this honour, and thus were Beethoven’s immediate contemporaries at this important time. Wranitzky’s suggestion on 25 January to the Society’s board (as point No. 18) that “Betthovens neue Sinfonie und Concertin” be performed at the Lenten concerts in 1805 is apparently unknown in the literature (see Plate 2). The new symphony is without question the Eroica (op. 55). Beethoven had finished composing this Third 41 H. C. Robbins Landon, Haydn. The Late Years 1801–1809, London 1977, pp. 256 and 259. 42 Ibidem, p. 258. The original reads: “Wien, den 6ten April. Musikalisch neues giebt es (ausser einem Oratorio von Paer, das nicht sehr gefallen hat) nur das Oratorium von Beethoven, Christus am Oelberg, welches gestern aufgeführt wurde, und ausserordentlichen Beyfall erhielt.” (col. 489). 150 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 Plate 2: 1805, January 25 Meeting, minutes No. 18. Wranitzky proposes Beethoven’s new symphony (Eroica, op. 55) and “Concertin” (Triple Concerto, op. 56) for a Society concert. 151 Rita Steblin Symphony in early 1804 and then ceded the manuscript to Prince Franz Joseph Maximilian Lobkowitz (1772–1816) for six months of exclusive performance rights in return for a generous payment. According to the latest research, rehearsals of the work were already held in the Lobkowitz Palace in Vienna in late May or early June 1804, before the symphony received its first performance at Schloß Eisenberg in Bohemia in August 1804.43 The conductor in Bohemia was no doubt Anton Wranitzky (1761–1820), Kapellmeister of the Prince’s private orchestra. The first public performance of this work took place, with Beethoven conducting, at the Theater an der Wien on 7 April 1805 in a benefit concert for the violinist Franz Clement. However, private performances in Vienna had already occurred at the house of the banker Baron Andreas Fellner and his son-in-law Joseph Würth on 20 January 1805, probably using the Lobkowitz orchestra, and at the Prince’s palace three days later, on 23 January.44 No doubt Paul Wranitzky was present at the Palais Lobkowitz event – after all, his brother Anton was orchestra director – and two days later he suggested that the new symphony be performed at the Society’s Lenten concerts. Concerning the Triple Concerto in C Major (op. 56), which is what Paul Wranitzky must have meant by the term “Concertin”, Beethoven composed this work at the same time as the Eroica Symphony and had probably finished it by summer 1804. In a letter to Breitkopf & Härtel, dated 26 August 1804, Beethoven offered several works for publication, including “Mein Oratorium; – eine Neue große Simphonie; – ein Konzertant für Violin, Violoncelle und piano-forte mit dem ganzen Orchester” and hoped that these three pieces would appear as soon as possible.45 When the Triple Concerto was finally published, in summer 1807, it was entitled “Grand Concerto Concertant” and was dedicated to Prince Lobkowitz. It was probably first performed at one of the Prince’s private concerts, with the composer at the piano, Anton Wranitzky playing the violin, and Anton Kraft (1749–1820) the cello.46 The two Antons were in the employ of the Prince, and Beethoven most likely had them in mind when he composed the piece. Schindler – as so often – erred when he wrote that the piano part was written for the young Archduke Rudolph (1788–1831) and the violin part for Carl August Seidler (1778–1840).47 The first confirmed evidence of closer contact between Beethoven and the Archduke dates from 1808, when the Fourth Piano Concerto was dedicated to him, and Seidler was not known to be in Vienna before 1806.48 In fact, the recently discovered receipt by Anton Wranitzky, 43 See Walther Brauneis, “...Composta per festeggiare il sovvenire di un grand uomo”. Beethovens Eroica als Hommage des Fürsten Franz Joseph Maximilian von Lobkowitz für Louis Ferdinand von Preußen, in: ÖMZ 53/12 (1998), pp. 4–24, at p. 9ff. 44 Ibidem, p. 15f. See also Jaroslav Macek, Die Uraufführung von Beethovens “Sinfonia Eroica”, in: Ludwig van Beethoven im Herzen Europas, ed. by Oldrich Pulkert and Hans-Werner Küthen, Prag 2000, pp. 253– 274, and Macek: Die Musik bei den Lobkowicz, ibidem, pp. 171–216, especially the facsimiles on pp. 188 and 191. 45 BGA 188. 46 See Albrecht, Letters to Beethoven (see footnote 13), vol. 1, p. 155f. 47 Schindler / Beethoven I, p. 147. 48 See Johann Friedrich Reichardt, Vertraute Briefe geschrieben auf einer Reise nach Wien und den Österreichischen Staaten zu Ende des Jahres 1808 und zu Anfang 1809, 2 vols., ed. by Gustav Gugitz, München 1915, 152 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 dated 9 June 1804 and tallying expenses incurred for two rehearsals with Prince Lobkowitz’s private orchestra, begins: “Item Prob vom Bethowen seiner Sinf: u Conc:” and would seem to indicate that both the Eroica and the Triple Concerto were rehearsed at the same time.49 Jaroslav Macek has also come to this conclusion: “In den Rechnungen sind [...] die Proben der neuen Sinfonie von Beethoven sowie die Proben des schon bekannten Tripelkonzerts, op. 56, angeführt, das Beethoven 1804 komponiert und ebenfalls dem Fürsten Lobkowicz gewidmet hatte.”50 Perhaps the Triple Concerto was also performed at the Lobkowitz Palace in January 1805.51 In any case, Paul Wranitzky combined both works in his suggestion to the Society’s board, and it was decided that Salieri, Wranitzky himself, and the concert organizer – Phillip Schindlöcker – should approach Beethoven to ask his permission to use these new works. In the end, however, no compositions by Beethoven were performed at the 1805 Lenten concerts. Instead, Haydn’s Schöpfung was scheduled once again. The reason why is not known, but Salieri must have been influential in making the decision (see the discussion below). 1807. April 23: Beethoven has borrowed the text “La Tempesta” That Beethoven was willing to lend his music for use in the Society’s concerts is apparent from several excerpts from 1807 – these are perhaps the most significant discoveries among the new mentions of Beethoven’s name (see Plates 3 and 4). These passages are found in an inventory of items belonging to the Society that were handed over on 23 April 1807 by the resigning secretary, Paul Wranitzky, to his successor Sebastian Gromann (1765–1813). Since most of the Society’s papers (including music scores and libretti) were housed in a room especially rented for the purpose, the following items must have been removed by Wranitzky at some point. The first mention of Beethoven’s name occurs in a list of twelve libretti, described as foreign (Italian) oratorio texts. A note in Wranitzky’s hand beside the last four items, Nos. 9-12, shows that these libretti had been borrowed by Adalbert Gyrowetz (1763–1850), while the note beside item No. 8 “La Tempesta” indicates that Beethoven still had this text in his possession. This inventory was mentioned recently by Bernd Edelmann in his article about Haydn’s Il Ritorno di Tobia and the change in taste in Viennese oratorio style after 1780: vol. 1, p. 197. Carl August Seidler, a Protestant from Berlin, is known to have concertized in Vienna in 1806 (but not before). On 17 February 1813 he married Caroline Wranitzky (1795–1872), the oldest daughter of Anton Wranitzky, and in 1816 they moved to Berlin. 49 See Brauneis, Composta per festeggiare (see footnote 43), p. 9. See also Reinhold Brinkmann: Kleine “Eroica”Lese, in: ÖMZ 39 (1984), pp. 634–638. Brinkmann argues here that “Conc.” in Wranitzky’s receipt probably meant the Third Piano Concerto (op. 37). 50 Macek, Die Uraufführung von Beethovens “Sinfonia Eroica” (see footnote 44), p. 258. 51 See Albrecht, Letters to Beethoven (see footnote 13), vol. 1, p. 155: “Beethoven may have played a concerto, possibly either the Piano Concerto No. 3, Op. 37, or more likely the Triple Concerto, Op. 56 (given its association with Lobkowitz, his principals and his orchestra by this time).” 153 Rita Steblin 154 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 Plates 3 and 4: 1807, April 23 Inventory of items handed over by Wranitzky to his successor Gromann. No. 22/8: Beethoven has borrowed the libretto La Tempesta; No. 24/3-5: Beethoven has given the Society his Symphony in D (op. 36) and his Symphony in E-flat (op. 55) but has borrowed the latter as well as 171 folios from his oratorio Christus am Oelberge. 155 Rita Steblin “Randbemerkungen in dem Inventarium zeigen, daß noch 1807, Jahre nach dem umwälzenden Erfolg von Haydns ,Schöpfung‘ und ,Jahreszeiten‘, das Interesse an italienischen Oratorientexten nicht erloschen war. 4 Libretti lagen bei Gyrowetz, und das Libretto ,La Tempesta‘ hatte ,. . . Herr Betthoven bey sich ...‘. Bezeichnenderweise beschäftigte gerade dieser Stoff Beethoven in der Zeit vor Entstehung der ,Pastoral‘-Sinfonie.”52 Edelmann was interested in showing how often storm scenes were set in late eighteenth-century oratorios. He also offered an interpretation about how this list of twelve oratorio texts came about, based on his study of Tonkünstler-Societät materials, and I will summarize his ideas here so that we might understand better why Beethoven’s name appears on this list. In April 1786 the Society had hired (for 24 ducats) the famous librettist Lorenzo da Ponte (1749–1838) to modernize eight oldfashioned oratorio texts, so that new oratorios in the latest style, using shorter recitatives, might be composed and performed in the Society’s concerts. However, a year later Da Ponte had still not carried out this task, and so the board official Thaddäus Huber hired instead Nunziato Porta, director of the Italian opera at Eszterháza. By March 1787 Porta had revised the following eight texts: Il Giudizio di Daniele, Mose in Egitto, Gerusaleme distrutta, La morte e la deposizione dalla croce di Gesù Cristo, Nabot vendicato, Per la S[antissi]ma annunziata, I tre fanciulli, and Costantino Vincitor di Massenzio.53 Six of these titles are found on the inventory list from 1807.54 Payment records from 1788 show that Porta reworked another five (unnamed) oratorio texts, and Edelmann supposed that these were to be found among the remaining six titles on the list, including La Tempesta.55 Of the twelve titles listed, only two were set to music and performed in Society concerts: Moisè in Egitto was composed by Leopold Koxeluch and performed twice, in December 1787 and December 1790, and La morte, e la deposizione dalla croce di Gesù Christo was 52 Bernd Edelmann, Haydns “Il Ritorno di Tobia” und der Wandel des “Geschmacks” in Wien nach 1780, in: Joseph Haydn. Tradition und Rezeption. Bericht über die Jahrestagung der Gesellschaft für Musikforschung Köln 1982, ed. by Georg Feder, Heinrich Hüschen and Ulrich Tank (Kölner Beiträge zur Musikforschung, ed. by Klaus Wolfgang Niemöller, 144), Regensburg 1985, pp. 189–214, at p. 211, n. 30. See also the reference to this remark by Edelmann in Christine Blanken, Franz Schuberts “Lazarus” und das Wiener Oratorium zu Beginn des 19. Jahrhunderts, Stuttgart 2002, p. 249, n. 24. 53 These six titles are named in Haydn-Verein A 2/1 Sitzungsprotokolle 1781–1800: 1787, Nr.5, which are the minutes for the meeting that was held on 13 March 1787. 54 Edelmann wrote about these librettos: “Mangels erhaltener Exemplare ist es zwar nicht sicher nachweisbar, aber doch sehr wahrscheinlich, daß auch die oben genannten Libretti, die nicht von Metastasio stammen, auf die Zeit vor 1740 zurückgehen.” He then tried to determine who the librettists of these six texts, none of which are by Metastasio, might have been, based on surviving works with similar titles. Here are some of his identifications: (librettist/composer/performance): Mose in Egitto (L. Villati/I. M. Conti/ Wien 1729), Nabot vendicato (A. Zeno/A. Caldara/Wien 1729), I tre fanciulli (S. Pallavicini/J. A. Hasse/ Dresden 1734). See Edelmann, Haydns “Il Ritorno di Tobia”, p. 210f, n. 28. 55 Edelmann, Haydns “Il Ritorno di Tobia”, p. 205: “Eines von Portas Libretti, die unvertont blieben, trug überhaupt den Titel ‘La tempesta’.” This is speculation on the part of Edelmann, since there is no definite evidence that this text was among the works revised by Porta. For the payment record see Haydn-Verein, B 5/18: “Societæts Rechnung. 1tes quartal 1788. von 1ten February bis ult: Aprilis 1788. [...] Extra Ausgaben […] Den Poeten Porto bezalle für die oratorien Büchl ut q[uittung] 67 f 30 x”. 156 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 composed by the singer Domenico Mombelli and performed in March 1788.56 The librettists for these two works are unknown, and because the actual libretti for the other ten titles are missing, much remains in the realm of speculation. And this includes the text “La Tempesta” that Beethoven had borrowed. The other titles can be associated with Biblical stories, that is, typical oratorio subjects. But “La Tempesta”? Perhaps this was the same libretto that was set at some point by Koxeluch: the Tonkünstler concerts in December 1818 (after Koxeluch’s death on 7 May 1818) included „La tempesta für 2 Chöre, von Leop. Kozeluch“ as an opening short number in a mixed vocal and instrumental program.57 Concerning Beethoven, there is another possibility that should at least be mentioned here. In ca. 1801/02, while he was studying with Salieri how to set Italian texts,58 Beethoven composed part of a cantata, known as “La Tempesta”, written by the great librettist Metastasio (1698–1782). Beethoven first set the lines “Ma tu tremi, o mio tesoro” as a Terzett for Soprano, Alto and Tenor a capella (WoO 99/6), and later – as the last exercise checked by Salieri – the Scene (“No, non turbati, o Nice”) and Aria (“Ma tu tremi, o mio tesoro!”) for Soprano and String Orchestra (WoO 92a). This cantata text was published originally in Milan in 1765 with the title “A Nice” and in Paris in 1780/82 with the title “La Tempesta”, but the text set by Beethoven deviates slightly from both editions.59 The autograph score of WoO 92a, located in Berlin, contains the heading “Esercizii – da Beethoven” and probably refers to his studies with Salieri. According to Sieghard Brandenburg, Beethoven may have planned to set the whole text since the Keßler Skizzenbuch (1801/02) contains a brief sketch with the last two verses of the final aria.60 To return to Wranitzky’s remark beside the title “La Tempesta” in the list from 1807: if the work involved was Metastasio’s cantata (and not a Biblical oratorio – the assumption being that Wranitzky was grouping Italian oratorio and cantata texts under one heading), then perhaps Beethoven borrowed this libretto (in ca. 1801?), and since he had hoped to set the entire text but had not yet completed the work, on 23 April 1807 he still had the libretto in his possession. 1807. April 23: Beethoven has lent his Second and Third Symphonies and Christus Perhaps of more importance – and, as far as I know, unrecorded in the literature – are the five items that Wranitzky entered under the category “Musickalien”: five 56 Pohl: Denkschrift (see footnote 3), p. 62f. 57 Ibidem, p. 70. See also Milan Postolka, Leopold Koxeluh, Praha 1964, p. 305. This work is apparently lost. 58 The period of Beethoven’s study with Salieri has recently been narrowed to: 1801 – early 1802. See Sieghard Brandenburg, Ludwig van Beethoven. Keßlerisches Skizzenbuch, vol. 1, Bonn 1978, p. 31f. 59 NGA X/3, ed. by Ernst Herttrich, München 1995, Kritischer Bericht, p. 209. Herttrich states here that – because of slight deviations in the text – Beethoven probably used the older version in the Milan edition for his text. 60 Brandenburg, Keßlerisches Skizzenbuch (see footnote 58), vol. 1, p. 32. 157 Rita Steblin music scores in his possession that apparently belonged to the Society and that he was turning over to his successor. The first two items can be dealt with quickly, but the three Beethoven items raise many questions, not all of which can be answered here. Item No. 1, “die 7. Worte”, is the vocal version of Haydn’s “Die sieben Worte des Erlösers am Kreuze”, also known as “Die Worte des Heilands am Kreutze” (Hob.XX/2), dating from 1795–6. This was the main choral work that had been performed at the Lenten concerts on 1 and 2 April 1798.61 On the second evening, 2 April, Beethoven performed his Piano Quintet (op. 16) and improvised, as discussed above. The next two concerts, on 22 and 23 December 1798, opened with “eine Sinfonie von H: Eybler” – probably the “Ouverture von Eybler” mentioned by Wranitzky as item No. 2. Joseph Eybler (1765–1846) was Salieri’s deputy (Vice-Hofkapellmeister), and succeeded to the post of Hofkapellmeister when Salieri was pensioned in 1824. But how are we to interpret items 3 to 5? They seem to imply that at some point Beethoven had given the Society the music both to his Symphony in D (op. 36) and his Symphony in E-flat (op. 55), as well as four packets of music copies from his oratorio Christus am Oelberge – but that he had later borrowed the Symphony in E-flat and still had it, and had signed a receipt stating that he had taken away 171 folios (“Bögen”) from the oratorio. Some of the questions that arise are: When did Beethoven give these items to the Society? What exactly did he give them: the copied score? a set of printed parts? copies of the parts? Concerning the Symphony in D, this was completed in October 1802 and first performed on 5 April 1803 at Beethoven’s benefit concert at the Theater an der Wien – along with the First Symphony (op. 21), Third Piano Concerto (op. 37) and Christus am Oelberge. The parts were then published in Vienna at the Bureau d’Arts et d’Industrie in March 1804, and perhaps this is what Beethoven gave to Wranitzky – the printed parts, hoping that the Society would program his work at one of their concerts. However, a letter from Beethoven to the publisher Sigmund Anton Stein, written shortly after 20 March 1817, sheds some light on what music he later gave to the Society when they scheduled his Seventh Symphony (op. 92) at their concerts on 30 and 31 March 1817: “für jezt, da die wittwenGesellschaft die Sinfonie in A aufführt, braucht sie ein Exemplar der Partitur derselben, welche sie nach dem Gebrauche zurükstellen will, selbiges Exemplar hat das g – l l – t A – t dem Hof - allerhöchsten Hofkapellmeister Salieri Patriarchen seiner guten Gesinnungen für deutsche Gesang-Musick u. deutsche sänger allerUnterthänigst zuzustellen [...]”62 61 The minutes for the meeting held on 19 January 1798 record under No. 2: “Herr Jos: Haydn läßt sich entschuldigen, daß er zur heutigen Session nicht erscheinen könne, weil er mit seinem Fürsten nach Eisenstadt gehet, indessen offerirt er der Sozietaet zur künftigen Fasten=Akademie die 7. Worte in der Vocal Musik. [Conclusum:] Die Sozietaet nimmt die offerte mit größter Danckbahrkeit, und innigstem Vergnügen an.” See also the minutes No. 12 from the meeting held on 10 March 1798, cited in the discussion above. 62 BGA 1097. 158 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 Thus, although the parts of the Seventh Symphony had been published at the same time as the score, in November 1816, Beethoven requested in March 1817 that the score (not the parts) be given to the Society. After all, they normally paid their own copyist to write out the parts. And so, it was probably the copied score of the D Major Symphony that Beethoven had earlier deposited with Wranitzky. Concerning the autograph score, Beethoven gave this at some unknown point to Ferdinand Ries, who lent it to a friend (who never returned it), and it is still missing.63 In the end, it was not the Tonkünstler-Societät, but the new association of noble music patrons that performed the D Major Symphony – as the final work on the first of their twenty Liebhaber Concerte, on 12 November 1807.64 Did Beethoven demand that the Tonkünstler-Societät return his music when he realized that there were no plans to perform his symphony? Concerning the Eroica Symphony, the parts were published by the Bureau d’Arts et d’Industrie in October 1806. But Beethoven had been approached by the Society’s board in late January 1805 with the request that his new symphony be performed at their Lenten 1805 concerts. Thus, at that time he must have given the copied score to Wranitzky. Why then did he borrow it again? Was this before the first public performance of the work, when Beethoven conducted the symphony on 7 April 1805 in a benefit concert for the violinist Franz Clement at the Theater an der Wien? Wranitzky’s note seems to imply that he was still expecting that the Society would perform both symphonies. Concerning Beethoven’s oratorio Christus am Oelberge, we learn from Wranitzky’s comment that Beethoven had signed a receipt for four packets of music copies from his oratorio, consisting of 171 folios (“Bögen”). This is most interesting, especially since the new edition of this work for the Beethoven-Gesamtausgabe (III/1) has just appeared (2008) with a detailed account of the surviving sources. The editor, Anja Mühlenweg, describes the main source “A” as a copy in the hand of Wenzel Schlemmer (1760–1823) with many corrections and inserted pages in Beethoven’s hand.65 This “überprüfte Abschrift” was found in Beethoven’s estate at his death and is now located in Berlin (D-B, Artaria 179, 1–3). It consists of 172 “Blätter”, that is, sheets, which have been paginated throughout with pencil in the middle of the right-hand side (1–172); the pages have also been numbered, in the upper righthand corner (1–343). The other major source “B” is now located in London (GB-Lbl, Egerton 2727). This is a corrected score in the hand of four copyists (Benjamin Gebauer and three unidentified hands) and consists of 155 sheets (Blätter), with the final chorus missing. This score was once owned by the Leipzig publishers Breitkopf & Härtel and is the source used for the first edition in 1811. In a letter from 1 February 1805 to Breitkopf & Härtel, written by Beethoven’s brother Karl, he states that the score of the oratorio could not be sent (along with the parts) because “we only 63 See the anecdote by Ferdinand Ries in: WegelerRies/Notizen, p. 77. 64 See David Wyn Jones, The Symphony in Beethoven’s Vienna, Cambridge 2006, p. 126. 65 The following discussion is based on Anja Mühlenweg’s critical notes in: NGA III/1, p. 231ff. 159 Rita Steblin have one copy.”66 When Beethoven himself wrote to the publishers on 18 April 1805, he now advised them that Prince Lichnowsky would deliver the score in person by the end of the month.67 This was undoubtedly the copy in four different hands that was once in Leipzig and is now in London. Since the number of sheets – 172 – in source “A” is remarkably close to the 171 folios cited by Wranitzky, I suspect that it was this copy – by Schlemmer – that Beethoven had deposited with the Tonkünstler-Societät, perhaps in February 1804, that is, before the Lenten concerts scheduled for 25 and 26 March 1804. But, as the minutes reveal, the work could not be performed because of insurmountable difficulties. As soon as Beethoven learned of the negative decision he must have requested that his score be returned to him – in time for his work to be performed at Sebastian Meier’s concert on 27 March 1804. Of course, he may have returned the score after this concert and borrowed it again at some later date. In any case, on 23 April 1807 he still had not returned the oratorio score to Wranitzky. Beethoven’s Relationship to Salieri, Vice-Præces of the Tonkünstler-Societät After the death of Paul Wranitzky on 26 September 1808, Beethoven’s dealings with the Tonkünstler-Societät took a turn for the worse. In a letter from 7 January 1809 to Breitkopf & Härtel, Beethoven complained bitterly about his many enemies in Vienna, the chief of whom was Salieri: “daß Niemand mehr persönliche Feinde hier hat als ich [...] Das Wittwer-Konzert hatte den Abscheulichen Streich gemacht, aus Haß gegen mich, worunter Herr Salieri der erste, daß es jeden Musiker der bey mir spielte und in ihrer Gesellschaft War, bedrohte auszustoßen.”68 Beethoven was referring to his famous academy on 22 December 1808, which included the premieres of his Fifth and Sixth Symphonies, and how he was forced to use lesser musicians because the Tonkünstler-Societät concert, which featured Haydn’s Il Ritorno di Tobia, had been scheduled on 22 and 23 December (which were actually their regular Advent dates). However, Beethoven was probably right in his complaint. As we have already seen, the English horn player Philipp Teimer, who had played Beethoven’s Variations (WoO 28) in the concert on 23 December 1797, was shut out of the Society in 1807 for failing to show up for the rehearsals and concerts earlier that year. So this was no empty threat. And, with the death of Wranitzky, Beethoven had lost his strongest advocate: a talented composer in his own right who 66 BGA 211: “kann ich die Partitur von dem Orator[ium] nicht mitschicken, weil wir nur eine davon haben.” 67 BGA 218: “Die Partitur des Oratoriums wird ihnen der Fürst Lichnowsky selbst bis Ende dieses Monates geben”. 68 BGA 2, Brief 350. 160 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 had suggested several times that Beethoven should be featured in the Society’s concerts. Wranitzky’s successors – the oboist Sebastian Gromann and the composer Paul Maschek – were lesser lights in comparison (and are rather forgotten today). The real power, Salieri, seems to have made no effort to include any of Beethoven’s works in the next decade or so, in spite of the fact that – as the inventory list of 1807 proves – Beethoven had offered three of his major works to the Society.69 1817. January 10 Meeting and March 30–31 Concerts: Seventh Symphony and Christus It took another ten years for the Society to include Beethoven’s works on one of their programs again – a result perhaps of his increased fame during the Vienna Congress. At the meeting held on 10 January 1817, the secretary Paul Maschek (1761–1826) suggested in point No. 12 that Haydn’s Sieben Worte be performed at the next Lenten concerts, along with Beethoven’s Christus am Oelberge (see plate 5). The playbill of the actual concerts, held on 30 and 31 March, shows that Haydn’s work was not given; instead, Beethoven’s Seventh Symphony had been added as the opening number on both nights. As mentioned above, this work was published in Vienna by S. A. Steiner, in early November 1816, and so was hot off the press. In his letter from ca. 21 March 1817 to Steiner, requesting that a copy of the score be lent to “Patriarch” Salieri for use in the Society concerts, Beethoven pokes sarcastic fun at the Hofkapellmeister’s notorious dislike of German vocal texts. 1817. April 24 Meeting: Beethoven offers to compose an oratorio for free Beethoven must have been especially pleased after being included in the March concerts, for at the next meeting, on 24 April 1817, the secretary announced (under point No. 20) that Beethoven had offered to compose an oratorio without charging a fee – if the society were to provide him with a good libretto (see Plates 5 and 6). Pohl reported this in his Denkschrift as follows: “Ein noch nirgends erwähnter Umstand ist von Interesse: Im J. 1817 erklärte der Secretär Maschek in der Sitzung vom 24. April „Herr von Beethoven habe den Wunsch geäussert und ihm mündlich versprochen, ein Oratorium für die löbliche Societät unentgeltlich zu componiren, wenn ihm die Societät ein gutes Buch verschaffe“. Da Beethoven gleichzeitig auch mit der Gesellschaft der Musik- 69 Franz Schubert’s diary entry from 16 June 1816, on the occasion of his teacher Salieri’s 50th anniversary celebration (at which Beethoven’s absence was conspicuous), is usually regarded as reflecting the Hofkapellmeister’s critical attitude towards Beethoven and his “Bizarrerie [...], welche bey den meisten Tonsetzern jetzt zu herrschen pflegt, u. einem unserer größten deutschen Künstler beynahe allein zu verdanken ist”. See Otto Erich Deutsch, Schubert. Die Dokumente seines Lebens, Kassel 1964, p. 45. 161 Rita Steblin Plate 5: 1817. January 10 Meeting minutes Nr. 12: Paul Maschek suggests that Haydn’s Sieben Worte and Beethoven’s Christus am Oelberge be performed at the Lenten concerts in 1817. 162 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 Plates 6 and 7 (see p. 164): 1817, April 24 Meeting, minutes No. 20: Beethoven has suggested to secretary Maschek that he would compose an oratorio gratis if he is provided with a good libretto. The proposed libretto is: Die Israeliten in der Wüste. 163 Rita Steblin 164 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 freunde wegen eines Oratoriums in Unterhandlungen stand, lässt sich daraus sein damaliger Drang zu dieser Gattung Composition entnehmen.”70 It is well known that the newly-founded rival music society in Vienna, the Gesellschaft der Musikfreunde, had invited Beethoven in late 1815 to compose an oratorio to be performed at one of their concerts. Beethoven accepted the commission in a letter dated 9 February 1816 and proposed a fee of 400 gold ducats, but was satisfied with the counter-proposal of 300 ducats. However, after many years of delay, during which a libretto was written (and rewritten) by Karl Joseph Bernard on the subject of Der Sieg des Kreuzes, and Beethoven was paid (in 1819) an advance of 400 fl., the oratorio was never composed. It is also well known that Beethoven considered – and rejected – many other oratorio subjects, including August Gottlieb Meißner’s Der Weg durchs Leben (1803), Joseph Hammer von Purgstall’s Die Sintflut (1819), and Christoph Kuffner’s Saul und David (1826), to name just a few.71 However, it was not known previously that the Tonkünstler-Societät actually met Beethoven’s request in 1817 and did suggest a libretto for him to set: Die Israeliten in der Wüste. Pohl seems to have overlooked this fact, which was written down as the “Conclusum” in the same minutes for the meeting on 24 April 1817 at which Beethoven’s offer was recorded. Even though it is obvious that Beethoven never composed an oratorio on this suggested text, it is still instructive to examine this topic briefly.72 The text offered to Beethoven was probably written by the Hamburg musician Daniel Schiebeler (1741–1771), a great admirer of Metastasio, who based his subject on the biblical account in Exodus, chapter 17.73 Schiebeler’s libretto was set by Carl Philipp Emanuel Bach (1714–1788) for a performance on 1 November 1769 to celebrate the construction of a new church in Hamburg. Bach’s oratorio, Die Israeliten in der Wüste (Wq 238), was published in Leipzig by Breitkopf in 1775, and was already performed in Vienna in ca. 1777, in a concert conducted by Christoph Willibald Gluck. Schiebeler’s libretto was then set by the amateur Viennese composer Maximilian Ulbrich (1743–1814) and performed at several Tonkünstler-Societät concerts: on 19 and 21 December 1779 and again on 6 and 8 April 1783.74 In connection with the first performance, the libretto was published in Vienna as: “Die Israeliten in der Wüste. Ein 70 Pohl, Denkschrift (see footnote 3), p. 49. 71 See also Hermann Ullrich, Ludwig van Beethovens letzte Oratorienpläne. Eine Studie, in: Studien zur Musikwissenschaft 33 (1982), pp. 21–47. 72 In pursuing this topic further, I discovered documents from the Tonkünstler-Societät that provide the solution to the mystery surrounding Schubert’s unfinished oratorio Lazarus (D 689). See Rita Steblin, Who Commissioned Schubert’s Oratorio Lazarus? A Solution to the Mystery. Salieri and the TonkünstlerSocietät, in: Schubert : Perspektiven 9/2 (2009), pp. 1–37. 73 The following information is derived from the Introduction by Reginald L. Sanders to his edition of Die Israeliten in der Wüste, completed in 2008 as part of the new series, Carl Philipp Emanuel Bach: The Complete Works, a project supported by the Packard Humanities Institute, available on the web. See pp. xi–xxi. 74 See Pohl, Denkschrift (see footnote 3), p. 59, for the 1779 description: “Die Israeliten in der Wüste, ein ganz neues, original-deutsches geistl. Singspiel von Max. Ulbrich, (k. k. n. ö. Landschaftsbeamter).” See also p. 60, for the repeat performances in 1783. 165 Rita Steblin original geistliches Singspiel. Wien, bey Joseph Edlen von Kurzböck. 1779.” This must have been the text, readily available in the Society’s archive, that was offered to Beethoven in 1817. 1824. March 18 Meeting: Joseph Eybler proposes that Christus am Oelberge be performed The last mention of Beethoven’s name (during his lifetime) in the Society documents that I examined, occurred in the minutes for a meeting held on 18 March 1824. The new secretary Joseph Eybler, who had taken over this post from Maschek in 1820 (and who would succeed Salieri as Hofkapellmeister on 6 June 1824), suggested that Beethoven’s oratorio be scheduled for the second Lenten concert (on April 12). However, the eventual work performed on both evenings in 1824 (April 11 and 12) was the old standard: Haydn’s Die Jahreszeiten. Before closing this preliminary study of Beethoven and the Tonkünstler-Societat, I would like to include some entries involving two persons who are known to have been involved with the composer in various ways: the copyist Joseph Arthofer and the Kapellmeister Friedrich Starke. (See the excerpts at the end of the “Chronological List.”) Joseph Arthofer (1742–1807) Beethoven complained as follows about two copyists in a letter dated 16 January 1805 to Breitkopf & Härtel: “nur durch mangel an guten Kopisten ist alles und muß anderes Verzögert werden – da ich nur zwei habe, wovon der eine noch obendrein sehr Mittelmäßig schreibt, und dieser ist mir jezt eben krank geworden”.75 The mediocre copyist has been identified as Benjamin Gebauer (ca. 1758–1846).76 In 2003 Theodore Albrecht argued that the other person – “Beethoven’s ‘mystery copyist,’ who had suddenly fallen ill in January, 1805” – was “an experienced and consistently competent copyist [...] who has heretofore not been associated with Beethoven in the literature: Joseph Arthofer.”77 This good copyist died of “Lungensucht” on 1 May 1807 at the age of 65.78 In his estate probate, Arthofer’s widow Theresia declared that 75 BGA 209. 76 See Theodore Albrecht, Benjamin Gebauer. The Life and Death of Beethoven’s “Copyist C”. With Speculation Concerning Joseph Arthofer, ca. 1752–1807, in: BBS 3 (2003), pp. 7–22. Albrecht also summarizes here the substantial contributions of previous scholars, including Alan Tyson, on the subject of Beethoven’s copyists. The date “ca. 1752” in the title of Albrecht’s article should read “1742”. 77 Ibidem, p. 11. 78 See A-Wsa, Totenbeschauprotokoll, under 1 May 1807: “Arthofer Joseph, Nottenschreiber, verheurath von Amstätten in N. Ö. gebürtig, ist im Sartorischenhaus No 1123 am Neumarkt an der Lungensucht beschaut worden, alt 65 Jr.” For some unexplained reason, Albrecht gives Arthofer’s birth year as ca. 1752. See also Dexter Edge, Mozart’s Viennese Copyists, Ph.D. diss. University of Southern California, 2001, part 2, pp. 480–539, chapter 5: “Joseph Arthofer”. Edge gives Arthofer’s birth year as 1741/42, although on p. 499 166 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 the two-year-long illness of her husband had caused the family’s savings to be used up, leaving them destitute. Many details about Arthofer’s career as a copyist were published already in 1996 by Dexter Edge, who wrote: “Arthofer was the official copyist for the concerts of the Viennese Tonkünstler-Societät from at least 1780 until the 1790s”.79 However, as the document extracts here show, Arthofer probably copied music for the Society for a much longer period: from 1772 until his death in 1807. Edge also wrote that: “Arthofer petitioned in 1779 to be named official copyist for the Society’s academies; his request is listed in an index to the minutes of the meetings of the Society’s board as point number 12 in 1779 („Arthofer Joseph um Versicherung der Copiatur bey den Musical: Societäts Academien,“ A-Wsa, Haydn-Verein, A2-1, Sitzungsprotokolle, Index, 1771–1806). The minutes for 1779 are lost, so the outcome of Arthofer’s petition is not documented, although it must have been favorable, since he in fact became the official copyist.”80 However, the minutes for 1779 are not lost. They were beautifully copied out in a calligraphic hand in a large, leather-bound book (B 2/1) with the title: HAUPT SESSIONS PRODOCOLL DER MUSICALISCHEN SOCIETAET DER FREYEN TONKUNST WITTWEN UND WAISEN VON JAHR DER ERRICHUNG 1771 Vom 23. März 1771 bis 24. August 1785.81 Thus, the outcome of Arthofer’s petition is known: see 1779, No. 13, in the Arthofer excerpts.82 The normal price Arthofer charged 79 80 81 82 he quotes the exact year from Moriz Bermann, Oesterreichisches biographisches Lexikon, 2. Heft, Wien 1851, p. 256: „Arthofer, Joseph, geboren 1742“. Dexter Edge, Recent Discoveries in Viennese Copies of Mozart’s Concertos, in: Mozart’s Piano Concertos. Text, Context, Interpretation, ed. by Neal Zaslaw, Ann Arbor 1996, pp. 51–66, at p. 53. Edge derived this information from official lists of the performers at the Society’s academies, one of which he included as a facsimile on pp. 432f. The original lists are found in Haydn-Verein, A 1/3b. Edge also wrote (on p. 54) that Arthofer’s hand is “present in many late eighteenth-century Viennese copies of works by composers other than Mozart; among the most important of these are the Tonkünstler-Societät’s score and performance parts of Haydn’s Creation, and the Society’s performance parts for Haydn’s Il ritorno di Tobia.” The biographical information on Arthofer and his family is expanded somewhat in the doctoral dissertation (see footnote 78), where Edge includes baptismal records for several children, discusses Arthofer’s living quarters, lists various payments for copying work, and gives a facsimile of his Sperrs-Relation (estate probate). Edge, Recent Discoveries, p. 61f., n. 13. A similar statement is made in Edge’s dissertation on p. 488. A-Wsa, Haydn-Verein, B 2/1. At some point the Society must have been decided to dispense with the effort and expense of making this calligraphic version of the board’s minutes. Although the original minutes (Sitzungsprotokolle) from 1771 to the end of 1780 no longer exist, the large box A 2/1 contains the original minutes from 1781 to the end of 1800. Thus there is a duplicate copy for the sessions that took place between 10 January 1781 and 24 August 1785. A comparison of the two sources shows them to be identical, with the exception of minor spelling changes, for example: “zweite” appears in B 2/1 instead of the spelling “zweyte” in A 2/1. The Index at the beginning of B 2/1, “Register über die bey den Sessionen abgehandelte Gegenstände” contains these two entries for Arthofer under Lit. A: “1779. Arthofer Jos: um Versicherung der Copiatur bey den Musi: Soc: Academien. 13. 1785. Arthofer Copist um Remuneration 5.” The separate Index in A2/1 for the years 1771–1806 and 1814–1820 contains the following entries for Arthofer under Lit A (number 12 [sic], instead of 13, is given here for 1779): 167 Rita Steblin was 5 Kreutzer83 per “Bogen.” At times he requested extra payments, because of special circumstances resulting in his expending extra effort, and these requests were granted. For example, after Mozart’s cantata Davidde Penitente (KV 469) was performed at the two Lenten concerts on 13 and 15 March 1785, Arthofer received a reward of 8 Gulden 36 Kreutzer, because his work had been hindered by unspecified causes.84 His petition on 6 May 1803 that he be paid an extra Kreutzer per “Bogen” because the price of paper had increased, shows that he must have run a workshop with hired help – these assistants were paid 4 Kreutzer per “Bogen”. His widow’s request for financial help in May 1807, in which she gives more details about her husband’s 35 years of copying service – for example, he wrote out all of the oratorio parts – was met with a one-time payment of 50 fl. She also explains that her husband would have become a member of the society if he had been able to afford the entrance fee (300 fl.). The annual pension at this time for a deceased member’s widow was 200 fl. Since the topic of Beethoven’s copyists has become increasingly important in recent scholarship, such new information must surely be of interest. Friedrich Starke (1774–1835) This horn player, composer and piano pedagogue is well known in the Beethoven literature: he gave Karl van Beethoven piano lessons (ca. 1815) and published several of Beethoven’s works in his Wiener Pianoforte-Schule (3 parts, 1819–1821), for example, the five Bagatelles op. 119, Nos. 7–11, which Beethoven wrote for part three of this piano tutor.85 About his career in the military, the Laaber-Verlag Beethoven Lexikon reported in 2008 that: “Als Kapellmeister des 33. Infanterieregiments nahm Starke bis 1814 an sämtlichen Feldzügen teil. Dann [sic] studierte er in Wien bei Albrechtsberger und widmete sich der Komposition von Militär- und Kammermusik sowie der Herausgabe eines Journals für militärische Musik.”86 83 84 85 86 “1779. Arthofer Joseph um Versicherung der Copiatur bey den Musical: Societäts Academien. 12. 1785. Arthofer Joseph, Kopist bekomt wegen ausserordentlicher Bemühung bey lezter Fasten Musik 8 f 36 xr als eine besondere Remuneration. 14. [This entry is cited in Edge’s dissertation, p. 536.] 1799. Arthoffer Copist bekommt Entschädigung 8. 1803. Arthoffer Copist erhält eine Zulage 13.” There were 60 Kreutzer (abbreviated as “kr.” or “x.”) in one Gulden (abbreviated as “f.” or “fl.”). Edge cites the index entry from A 2/1 in his dissertation (see footnote 78), but he is unaware of the actual Sitzungsprotokoll in B 2/1. For biographical information on Starke, see Constant von Wurzbach, Biographisches Lexikon des Kaiserthums Oesterreich, vol. 37, Wien 1879, p. 223f., and Beethoven aus der Sicht seiner Zeitgenossen in Tagebüchern, Briefen, Gedichten und Erinnerungen, ed. by Klaus Martin Kopitz and Rainer Cadenbach, 2 vols, München 2009, vol. 2, p. 947ff. Michael Lorenz, Starke, Friedrich, in: Das Beethoven-Lexikon, ed. by Heinz von Loesch and Claus Raab, Laaber 2008, p. 718f. Starke’s dates are given here as * 30.3.1774 Elsterwerda, † 18.12.1835 Oberdöbling. And yet, four of the excerpts included below from the Tonkünstler Societät’s minutes report that Starke’s 168 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 From the excerpts below we see that Starke, “Kapellmeister beym Hillerischen Infant: Rgmt”, applied to join the Tonkünstler-Societät already in April 1807, but was disqualified as a candidate because of his military status. This Infantery Regiment was named after its Commander, Feldzugmeister Johann Freiherr von Hiller (1754– 1819), who was solely in charge of the No. 2 Infantry Regiment from 1806 until 1814. In November 1808 Starke applied again, claiming that he was a former Kapellmeister with Hiller’s Infantry Regiment, but his application was put on hold until he met two conditions: he had to show how he was earning his living as a musician and he had to attest in writing that he would never again join the military. By 1 August 1810 Starke was apparently able to meet the two conditions, and he was finally accepted as a member of the Society on 3 November 1810. However, he obviously did not abide by the stipulation to avoid a military post, since in 1812 – when he and Beethoven shared a “musical breakfast” – he was serving as Kapellmeister for the “k. k. Inf. Regiment Hironimus Coloredo”.87 The fact that Starke was breaking the rules, thus setting a precedent, was mentioned in 1818 by another Kapellmeister serving an infantry regiment, Martin Scholl, who was then admitted to the Society in spite of his military occupation. In the surviving lists of performers who took part in the Tonkünstler-Societät concerts (Haydn-Verein A 1/3) Starke is not listed as a horn player, but rather appears repeatedly as one of the “Billeteurs” who checked entry tickets (except of course when he forgot to appear for the concert on 22 December 1817). In conclusion, it is hoped that the documents presented here will encourage other scholars to examine the materials from the Viennese Tonkünstler-Societät in the course of their own research. Not only will they gain a better understanding of the historical context of music making in the city where Beethoven lived, but they will also learn new details about other persons who were associated with the composer. birth date was 29 March 1774. In a personal communication from Lorenz, I learned that the March 30th birthdate appeared in Starke’s Pianoforte-Schule, III. Abtheilung, 2. Auflage, Wien [after 1821], p. 25, as: “von armen Eltern geboren den 30ten März 1774 zu Elsterwerda bey Dresden, seit 40 Jahren in Wien”. This later date is apparently a mistake. Also in need of correction: since Johann Georg Albrechtsberger died on 7 March 1809, Starke must have studied composition with him before that date. 87 See Beethoven aus der Sicht seiner Zeitgenossen (see footnote 85), vol. 2, p. 947. This was the “Infanterie Regiment Nr. 33,” which was commanded by Feldmarschalleutnant Hieronymus Graf von ColloredoMansfeld from 1809 to 1815. 169 Rita Steblin Table 1 Summary of Beethoven mentions in Tonkünstler-Societät documents, 1795–1824 1795, March 29 Concert: Beethoven performs his Piano Concerto in C Major (op. 15) 1795, March 30 Concert: Beethoven improvises on the piano (mentioned in the minutes of the May 8 Meeting) 1797, January 20 Meeting: Paul Wranitzky formulates a letter to Beethoven offering him free tickets to future concerts (the only mention of Beethoven’s name in the Index) 1797, December 23 Concert: Beethoven’s Variations (WoO 28) on “Là ci darem la mano” from Mozart’s Don Giovanni for two oboes and English horn are performed by Joseph Czerwenka, Reuter and Philipp Mathias Teimer 1798, April 2 Concert: Beethoven performs his Piano Quintet (op. 16) with Tribensee (oboe), Beer (clarinet), Matouschek (bassoon) and Nickl (horn), and improvises on the piano (mentioned in the minutes on April 13) 1798, March 10 Meeting, minutes dated April 13: two reports written after the concert, that Beethoven agreed on the spur of the moment to help out by performing his Piano Quintet, and that his improvisation was excellent 1804, February 24 Meeting, minutes dated March 23: Wranitzky reports that Beethoven offered his oratorio Christus am Oelberge (op. 85) for a Society concert but that insurmountable problems hindered its performance 1805, January 18 Meeting: Wranitzky reports that 17 composers (including Beethoven), two librettists and two stage artists, hold free tickets to the Society concerts New: 1805, January 25 Meeting: Wranitzky proposes Beethoven’s new symphony (Eroica, op. 55) and “Concertin” (Triple Concerto, op. 56) for a Society concert. Wranitzky, Salieri and Akademie-Inspektor Schindlöcker are to approach the composer about this 1807, April 23 Inventory list of items handed over by the resigning secretary Wranitzky to his successor Gromann: Beethoven has borrowed the libretto to the (Italian) oratorio “La Tempesta”; New: Beethoven has lent the Society the music to his Symphony in D (op. 36) and to his Symphony in E-flat (op. 55) as well as four packets of music copies from his oratorio Christus am Oelberge; but he has borrowed the Symphony in E-flat and has signed a receipt stating that he has taken 171 folios (“Bögen”) from the oratorio (New:)1817, January 10 Meeting: the secretary Paul Maschek proposes that either Haydn’s Seven Last Words or Beethoven’s Christus am Oelberge be performed at the Lenten concerts 1817, March 30 and 31 Concerts: both Beethoven’s Symphony in A (op. 92) and his Christus am Oelberge are performed 1817, April 24 Meeting: Beethoven has suggested to the secretary Paul Maschek that he would compose an oratorio gratis if the Society were to provide him with a good libretto. New: The libretto proposed is: Die Israeliten in der Wüste 170 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 New: 1824, March 18 Meeting: the secretary Joseph Eybler proposes that Christus am Oelberge be performed at the second Lenten concert (on April 12). The eventual work performed on April 11 and 12 is Haydn’s Die Jahreszeiten Chronological List of Beethoven Mentions (with some Context), 1795 to 1824 1795 A 2/1: Sitzungsprotokolle 1781–180088 Protocoll der Sozietäts Session de dato 31 Jenner 1795 Sub Præside: H: Hofkapellmeister Salieri Præsentibus: H[errn]: Friebert, Haberda, Mayer, Scheidl, Pable, Orsler, Baldey, Schindlecker, Spangler Georg Actuario: Paul Wranizky […] 9. [Referendum] Akademie Anstalten für die künftige Fastenzeit sind zu treffen. Es ist vorhanden 1tens. Eine Cantata Le Gare d’Amore von Allessandro Cornet, die zwar die Sozietät schon besizet, die aber der Verfasser jetzt ganz umgearbeitet hat. [Conclusum]89 Der Verfasser H: Cornet soll ersuchet werden, selbe auf ein andermal aufzubewahren. dann 2tens Ein grosses Oratorium Gioas von H: Cartelieri, welcher sich Vergnügen macht, es der Sozietæt zur Production zu geben, er hat es schon abgeschrieben, und zwar die Violinstimmen 6mahl. [Conclusum] Auf alle Fälle wäre dieses zu machen, um an der Copiatur so viel zu ersparren. 3tens schlägt H: Secretair vor, daß nachdem diese Fasten 2 Opern Serien, nemlich eine von H: Pugnani die andere von H: Kozeluch von Saiten der Teater Direkzion gegeben werden, und das Spectackel immer mehr einträgt, als eine blosse Akademie, so sollte man sich Mühe geben, die Erlaubniß zu erhalten, an den, der Sozietät gewidmeten Akademien=Tägen, eine Vorstellung der einer oder der anderen Oper geben zu därfen. 88 A-Wsa, Haydn-Verein A 2/1. The large box containing the minutes of all of the meetings held between 1781 and 1800 also contains the Index A 2/1 for the years 1771–1806 and 1814–1820. The minutes are usually in the hand of Paul Wranitzky. They were at times written out several weeks after the date when the meeting was held and thus this later date appears at the end of the minutes. 89 All of the excerpts included here appear in the original documents according to the following format: the left-hand side of the page concerns items to be discussed, under the initial heading “Referenda” while the right-hand side of the page contains the decisions made, under the initial heading “Conclusa”. I will dispense with the singular headings „Referendum“ here, but will include the heading „Conclusum“ and indent the entry for the sake of clarity. 171 Rita Steblin Er Sekretär habe vorläufig mit Sr Excellenz dem Grafen v. Ugarte davon gesprochen, Hochwelche diesen Gedancken ausführbahr finden. Auch hat er Sekretär von dem k. k. Obristen Theatral Vice Directeur H. v. Braun die Erlaubniß vorläufig dazu erhalten, und will also gleich eine Bittschrift an die Hochlöbliche Regierung deßhalb verfertigen. [Conclusum] Dieser Vorschlag wird angenohmen und sind deßhalb die noch nöthigen Anstalten dem Akademie Inspecktor anzuempfehlen. Vidi Ugarte mp / Ant. Salieri M. d. C. mp / Paul Wranizky mp Soc: Actuar: B 1/8: General-Ausweis der Tonkünstler-Societäts Academien90 Im Jahre 1795. 29 u 30. März wurde aufgeführt: Gioas ital:, König in Judäa, Oratorium in 2 Abth: von Cardellieri. /:der erste Theil/ Dabey trugen die Soloparte von: Dlle Sessi, H: Viganoni. Dlle Mareschalchi, H: Saal. H: Vogel. H: Spangler. Vorher 1/ Sinf. v Cardellieri 1/ Clavier-Concert von Beethoven Soloparte: H: Ludwig van Beethoven. Am 30ten 1/ Obrige Sinfonie 2/ Fagott=Concert von Cardellieri Soloparte: H: Matouscheck Churfürst: Mainzischer Kammermusiker. dann der 2te Theil des Oratoriums: Soloparte: die obgenannten Sänger. Empfang brutto: 1522 f 39 x; Ausgabe: 442 f 35 x; Empfang netto: 1080 f 4 x. A 2/1: Sitzungsprotokolle 1781–1800 Protocoll der Sozietäts Session vom 8ten May 1795. Sub Protectore: Ser Excellenz Herrn Herrn Grafen v. Ugarte Sub Præside: Herr Hofkapellmeister Salieri Præsentibus: Carl Friberth, Joseph Mayer, Joseph Pable, Joseph Orsler, Phillip Schindlecker, Zeno Menzel, Joseph Weigl Paul Wranizky Soc: Act: […] 90 A-Wsa, Haydn-Verein B 1/8. This summary of the concerts performed by the Tonkünstler-Societät beginning in 1771 was written out in 1839 by the secretary, Stephan Franz. 172 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 13. Im lezten Protocoll sub Nro 9. sind dreyerley Vorschläge wegen der Fasten Akademie gemacht worden und nachdem das Oratorium von H: Hofkapellmeister Kozeluch /:die Judith:/ von Sayten der Theatral Hof Direkzion nicht gegeben wurde, folglich die Sozietaet diese Gelegenheit, ein Oratorium in Scena zu geben, nicht hat benuzen können, so ist das Oratorium vom H: Cartelieri /:Gioas:/ auf gewöhnliche Art und Weyse gegeben worden, wobey den ersten Abend H: Betthoven ein Concert auf dem Pianoforte spielte, den 2ten Abend H: Matouschek ein Concert auf dem Fagott produzirte und H: Betthoven auf dem Pianoforte phantasirte. [Conclusum] Zur Nachricht 1797 A 2/1: Index 1771–1806, 1814–182091 Index: B [...]92 1797. Briefe an H: Haydn. Kozeluch. Weigl. Süßmayer. Wranizky Anton. Betthoven. Gyrovetz. 10. A 2/1: Sitzungsprotokolle 1781–1800 Sessions Protocoll de dato 20ten Jenner 1797. Sub Protectore ac Præside: P: T: Herrn Herrn Grafen von Kuefstein Vice Præside: des H: Hofkapellmeister Salieri Præsentibus: H: Frieberth Carl, Mayer Joseph, Scheidl Joseph, Wagenhofer Lorenz, Orsler Joseph, Pable Joseph, Albrechtsberger Georg, Weigl Joseph, Schindlecker Phillip, Sedler Georg. Actuario: Paul Wranizky […] 10. Herr Sekretär schlagt vor, daß es billig, der Kunst angemessen, und der Sozietaet sehr einträglich seyn könte, jenen berühmten Tonsezern, die um die Sozietaet sich grosse Verdienste erworben haben, oder noch ins künftige der Sozietaet auf eine Arth dienen können, ein freyes Eintritts Billet für alle künftige Sozietaets Akademien zu geben, und selbes mit einem höflichen Schreiben ad captandam benevolentiam zu begleiten. [...] 91 A-Wsa, Haydn-Verein A 2/1: Index. This index is a slim, handwritten folder with alphabetical entries and is located in the same box as the Sitzungs-Protokolle A 2/1, 1781–1800. 92 Beethoven’s name only appears once in this index, under the alphabet letter “B” for the category “Briefe”. 173 Rita Steblin An Herrn Herrn Joseph Hayden hochfürstlichen Esterhasischen Kapellmeister. […] Musikalische Wittwen und Waisen Gesellschaft. Ex concluso Sessionis ddo 20 Januarij 1797. Wienn d 6ten Februar: Ant. Salieri M[aestro] D[i] C[apella] Paul Wranizky mp derzeit Sekretär der S.93 [...] An Herrn Anton Wranizky Hochfürst: Lobkowitzischen Kapellmeister Schatzbahrester Herr Kapellmeister! Die musikal: Witt: u Wais: Gesell: giebt sich die Ehre, Ihnen beyliegend mit einem freyen Eintritts Billet zu allen künft: musik: Soz: Akad: aufzuwarten; Sie belieben es jedesmal nur vorzuzeigen und wieder zu behalten. Verzeihen Sie, daß die Soz: nicht anders, als eben so, für Dero ihr bereits erwiesene Dienste sich dankbahr zeigen kann: Nehmen Sie dieses, als ihren guten Willen an, und sind Sie so gütig, die Witt: und Wais: der Soz: auch ins künftige, durch Ihre vortrefliche Talente unterstützen zu wollen. Sie verbinden dadurch unendlich /:Unterschriften wie bey Vorigen:/ Gleichlautend an Herrn Van Betthoven. […] Vidi G v Küfstein mp / Salieri M. d. C. mp Paul Wranizky mp Soc: Act: Wienn d 10 Feb: 1797. Sessions Protocoll de dato 8ten Novemb: a. c. [1797] Sub Protectore ac Præside: Herrn Herrn Grafen von Kuefstein Vice Præside: Herrn Hofkapellmeister Salieri Præsentibus: Mayer Joseph, Wagenhofer Lorenz, Pable Joseph, Orsler Joseph, Schindlecker Phillip, Sedler Georg. Actuario: Wranizky Paul […] 24. Akademie Anstalten wurden dahin getroffen: Herr Hofkapellmeister Salieri nahm es über sich aus den Compositionen des H: Righini, die er für die Sozietaet schreiben hat lassen einen Auszug zu machen und es für die Sänger, die man haben wird können zu arrangiren. Dieser Auszug soll zum 2ten Theil der Akademie dienen. Zum 93 See BGA 26, for the reading “Paul Wranizky derzeit Sekretär derselb.” This seems to suggest that Wranitzky was identifying himself as the secretary of Salieri’s Capella, rather than as secretary of the S[ociety]. 174 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 ersten offerirte H: Wranizky seine neu herausgekommene, und hier noch unbekante Friedens Sinfonie. H: Schindlecker wird um die Concerten sorgen. [Conclusum] Zur Nachricht. Paul Wranizky mp Soc: Act: Wienn d 17ten Novemb: 1797. […] B 1/8: General-Ausweis der Tonkünstler-Societäts Academien Im Jahre 1797. 22 u 23. Decb: wurde aufgeführt Gemischte Academie am 22ten 1/ Sinf. v P. Wranitzky 2/ Chor v Haendl 3/ Arie v Süßmayer Soloparte: H: Schulz 4/ Oboe – Concert von Krommer gespielt von H: Czerwenka 5/ Alleluja v Albrechtsb: 6/ Arie v Cimarosa Soloparte: Dlle Thr: Gaßmann 7/ Arie v Righini Soloparte: H: Saal 8/ Chor v Sachini 9/ Quartett mit Chor von Righini am 23ten 1/ dto wie am vorigen Tage 2/ dto 3/ dto 4/ Duett-Concert f. Violin u Cello gespielt von: H: A. Wranitzky und 5/ dto Kraft /Vater/ 6/ dto 7/ dto 8/ Terzett auf 2 Oboen u 1 engl: Horn gespielt von: den H: H: Czerwenka, v Beethoven Reuter und Teimer. 9/ dto Empfang brutto: 1453 f 43 x; Ausgabe: 427 f 59 x; Empfang netto: 1025 f 44 x. A 2/1: Sitzungsprotokolle 1781–1800 1798 Sessions Protocoll ddo 19 Januar a. c. [1798] 4. Die, vermög Sessions Protocoll ddo 8ten Novemb: 1797. No 24. bey nächster musickalischen Akademie aufzuführende neue Friedens Sinfonie von Wranizky ist durch ein 175 Rita Steblin Dekret von Sr Majestæt ddo 20 Decemb: 1797. so der Sozietaet sub dato 2ten Jenner 1798 zugestellt wurde aufzuführen verboten. Das Decret liegt bey Acten. [Conclusum] Zur Nachricht. Vidi G v Küfstein mp / Salieri Maestro di Cappella della Corte Imperiale mp Paul Wranizky mp Soc: Act: Wienn d 14ten Feb: 1798. Sessions Protocoll ddo 10 März 1798. Sub Vice Præside: Herrn Hofkapellmeister Ant: Salieri Præsentibus: H: H: Jos: Haydn, Hoffmann Ant:, Lang, Kälbel, Frieberth, Graßl, Pable, Albrechtsberger, Orsler, Perger, Schindlecker, Sedler, Schram Actuario: Paul Wranizky […] 12. Akademie Anstalten Beyde Täge d 1ten und 2ten April werden die Worte des Heilands am Kreutze in Musik gesezt von H: Joseph Haydn aufgeführt. Die Textbücheln werden an der Cassa gratis ausgegeben. Zum Anfang wird eine Sinfonie von H: Eybler gemacht welcher darum ersuchet werden muß. Die Concerten besorget H: Schindlecker. Zur Nachricht. Nota. Den 1ten Tag hat H: Joseph Beer fürst: Lichtenstein: Kammer Virtuos auf der Clarinette ein Conzert geblasen, den 2ten Tag hat H: Van Bethoven ein Quintett produzirt, und sich dabey auf dem Piano forte, auch durchs Fantasiren ausgezeichnet. 13. Diese Akademie welche wir bloß dem Haydn zu verdanken haben hat 2768 f und einige Kreutzer getragen. Ein Beweiß daß Haydens unentgeldliche Aufnahme in die Sozietaet ein grosser Gewinn für dieselbe ist. Gleich guten Erfolg von dem am 20ten Jenner 1797. durch den Sekretär der Sozietaet gemachten Vorschlag, wegen Austheilung der Freybilleten, und verbindender Schreiben an die hiesigen Compositores, bezeiget dieses, daß H: Eybler die verlangte Synfonie mit größtem Vergnügen hergegeben, und an die Soz: einen danckvollen Brief geschrieben, und für die Attention sich sehr hoch geschäzt gefunden hat. Auch hat H: Van Bethoven als der Akad: Inspector wegen eines Conzerts für den 2ten Tag sich in einer Verlegenheit fand, auf ersten Winck sich zu dem besagten Quintett engagiren lassen. Zur Nachricht. Vidi G v Küfstein mp / Salieri Maestro di Cappella della Corte Imp[eria]le mp Paul Wranizky mp Soc: Act: Wienn d 13ten April. 176 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 B 1/8: General-Ausweis der Tonkünstler-Societäts Academien 1798: 1 und 2. April. Die Worte des Heilands am Kreuze Oratorium v J. Haydn Soloparten: Dlle Therese Gaßmann u Flamm H: Sigm: Hüller u Weinmüller vor dem Oratorium 1/ Ouv: v Jos: Eybler, Chordirector beym Schotten 2/ Clarinett-Concert gespielt von: H: Beer, Fst: Lichtensteinscher Tonkünstler Am 2ten war anstatt diesem Concert Ein Clavier-Quintett v Beethoven für Clavier, Oboe, Clarinett, Fagot u Horn gespielt von: H: L. van Beethoven, H: Tribensee, H: Beer, H: Matouscheck und H: Nickl Empfang brutto: 2734 f 21 x; Ausgabe: 366 f 33 x; Empfang netto: 2367 f 48 x. 1803 A 2/2: Sitzungsprotokolle 1801–183094 Sessions Protocoll ddo 12ten März. [1803] Sub Vice Præside: Herr Hofkapellmeister Ant. Salieri Præsentibus: Herren: Friberth, Hoffmann, Kaelbel, Orsler, Schindlecker, Pößinger, Sedler Actuario: Wranizky Hospitibus: Conti, Förster, Klemp, Böhm, Maschek […] No 9 Bohdanovitz offerirt der Soziet: 7. Gesänge seiner Composition der Hermanns Schlacht unter der Bedingung auch ihm von der Einnahme entweder die Haelfte, oder ein Drittheil, oder wenigstens ein Viertheil zuflüssen zu lassen, und ihm selbst zu tacktiren zu erlauben. [Conclusum] Er solle seine Partitur dem H: Hofkapellmeister Salieri[,] dem H: Albrechtsberger und dem H: Friberth zur Einsicht vorlegen, dann folgt weiterer Bescheid. 94 A-Wsa, Haydn-Verein A 2/2. This is a large box containing the minutes of all of the meetings held between 1801 and 1830. After Paul Wranitzky resigned his post as secretary in April 1807, Sebastian Gromann took over, serving until 1813, when he was replaced by Paul Maschek. Joseph Eybler became secretary in 1820. In 1825 Franz Stefan took over the position and served as society secretary until 1856. See Pohl, Denkschrift, p. 99. 177 Rita Steblin No 10 Akademie Anstallten [Conclusum] Es soll den 3ten und 4ten April die Schöpfung von Haydn aufgeführt werden. Secretair ersuchet den H: Conti sich beym Sr k. Hoheit dem Großherzog zu verwenden, daß Er der Soziet: Paer‘s Oratorium Passione di Jesu für die Fasten [1]804. leihen möge. Dient zur Notiz: Daß obbesagte Oratorium la Passione di Jesu dieses Jahr weil sich der Compositor gerade hier einfindet, gegeben wurde. Salieri M. d. C. mp / Vidi G v Küfstein mp / Paul Wranizky mp Soc: Act: Wienn d 12ten April [1]803. 1804 Sessions Protocoll ddo 24ten Febr: [1]804. Sub Vice Præside: Herr Hofkapellmeister Salieri Præsentibus: Herren: Frieberth, Hoffmann Ant, Kaelbel, Kletschinsky, Stadler, Förster, Orsler, Schram, Gromann, Schindlecker, Milleckner, Sedlatschek, Mascheck, Klemp Anmerkung. Da der Aktuar Wranizky verhindert war, der heutigen Session beyzuwohnen, so hatte H: Assessor Frieberth die Gütte die Conclusa zu notiren. Eigene Handschrift ist bey Ackten dieses Protocolls. Litt A. […] Nro 9 Es sind Akademien=Anstalten zu machen [Conclusum] Die Schöpfung von H: Jos. Haydn soll beyde Tage gemacht werden. Anmerkung: Dem Secretair haben Se Mjtt die Kayserinn das lezte Oratorium von H: Paer, welches für Se Konig: Hoheit dem Churfürsten von Salzburg geschrieben wurde, zu verschafen versprochen. Das Oratorium hat Secretair gehört, und findet die Musik sehr brillant; wenn es mit guten Sängern besezt würde, kann die Sozietaet ohne allen Anstand doppelte Preyße annehmen. Seine Majestaet haben wircklich das Orator: hergegeben, es diese Akademie aufzuführen, allein wegen andern Hindernissen muß man bey der Aufführung der Schöpfung verbleiben. Auch hat H: Van Bethoven die Güte gehabt sein Oratorium Christus am Oelberg der Sozietaet anzutragen, allein auch hier fanden sich unübersteiglichen Hindernisse. [Conclusum] Zur Notiz. Vidi G v Küfstein mp / Salieri M. d. C. mp Paul Wranizky mp Soc: Act: Wienn d 23ten Mærz [1]804. 178 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 B 1/8: General-Ausweis der Tonkünstler-Societäts Academien 1804: 25 u 26 März Die Schöpfung Orat: 2 Abth: von Jos: Haydn. Empfang brutto: 2954 f 21 x; Ausgabe: 555 f 27 x; Empfang netto: 2398 f 54 x. 1804: Am 22 u 23. Decb: Die Jahrszeiten große Cantate in 4 Abtheilungen von Jos: Haydn. Empfang brutto: 2548 f 46 x; Ausgabe: 430 f 2 x; Empfang netto: 2118 f 44 x. 1805 A 2/2: Sitzungsprotokolle 1801–1830 Sessions-Protocoll ddo 18 Jenner 1805. Sub Præside: Des k. k. Hofmusikgrafen Herrn Grafen v Kueffstein Hochgehors: Sub Vice Præside: des H: Hofkapellmeister Ant: Salieri Præsentibus: Herren: Friberth, Hoffmann Ant, Scheidl, Kaelbel, Pondra, Klemp, Kletschinsky, Maschek, Wutky, Orsler, Schram, Gromann, Sedlatschek, Mülleckner, Stadler Actuario: Wranizky […] Nro 6: Secretair schlägt vor an einige hiesigen Compositores, und in diesen Fach einschlagende Künstler, gleichwie schon ex concluso Sess: ddo 20 Jenner 1797. festgesezt worden ist, freye Eintrittsbillets zu den musikalischen Akad: zu ertheilen. [Conclusum] Die Sozietaet überläßt dieses ganz der Einsicht des Secretairs Es besitzen freye Eintritts=billete: Haydn, Kozeluch, Weigl Jos., Süßmayr, Girovetz, Wranizky Ant., Betthoven, Wölfl, Eibler, Preindl, Schenk, Eberl, Reicha, Hummel, Cartelieri, Tribensee, Vogler. Die Theater Dichter: Treitschke, Prividali Die Theater Decorateurs: Platzer, Sachetti […] Nro 13. Danckschreiben des H: Eberls, Preindls, Cartelieris und Treitschkes für die ihnen erwiesene Auszeichnung, und freyen Eintrittsbillets. [Conclusum] Zur Notiz. 179 Rita Steblin Sessions-Protocoll ddo 25t Jenner [1]805. Sub Præside: Des k. k. Hofmusikgrafen H: Grafen v. Kueffstein Hochgebohrn ff. Sub Vice Præside: H: Hofkapellmeister Ant: Salieri Præsentibus: Herren: Friberth, Scheidl, Hoffmann Ant, Kaelbel, Klemp, Pondra, Sedlatschek, Förster, Krommer, Wutky, Gromann, Maschek, Kletschinsky, Orsler, Schindlecker, Stadler Actuario: Wranizky […] Nro 18. Akademie Anstalten. H: Secretair schlägt vor Betthovens neue Sinfonie und Concertin, das übrige gemischt. [Conclusum] H: Hofkapellmeister Salieri[,] Secretair und H: Akademie-Inspektor, sollen diesmal das Geschäft besorgen. B 1/8: General-Ausweis der Tonkünstler-Societäts Academien 1805: 7 und 8. April Die Schöpfung von J: Haydn Soloparten: Dlle Antonie Laucher H: Bevilaqua Fst: Esterh: Kammersäng: H: Weinmüller k. k. Hofkap: Sänger Empfang brutto: 3511 f 52 x; Ausgabe: 586 f 9 x; Empfang netto: 2925 f 43 x. 1807 A 3/2: Beilagen 1801–185095 Akten der Session ddo 18ten Febr: 1807.96 […] 4. Resignation des P. Wranizky seiner bisherigen Sekretär-Stelle. Inventarium Nro 2. Übergabe des H: P. Wranizky an H: Gromann. duplicat. Nachfolgende Schriften, und allerley Sozietaets Ackten, Schlüsseln, und requisiten, sind von H: Wranizky bisherigen Soz: Sekretär, an den neugewählten Secretair 95 A-Wsa, Haydn-Verein A 3/2. This is a large box containing various documents, including some letters, that served as extra materials for the minutes between 1801 and 1850. 96 This complete act and the following inventory is in the hand of Paul Wranitzky. On the cover of the inventory the archivist Hanns Jäger-Sunstenau has written: “23. April 1807 (vgl. 25.9.1794) zu 1807/35”. 180 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 H: Gromann unter heutigem dato, in Gegenwarth der Unterzeichneten abgeliefert worden. […] 22. Wälsche Texte zu Oratorien. 1. Constantino Vincitor di Massenzio 2. Il Giudizio di Daniele 3. Mosé in Egitto 4. Il Trionfo della Clemenza 5. La sconfitta di Sisarra 6. Gierusaleme distrutta 7. La Morte d‘ Adamo 8. La Tempesta. hat H: Betthoven bey sich. 9. Il cantico di 3 fanciulli 10. Il Voto di Feste hat H: Gyrovetz bey sich 11. Nabod Vendicato [ditto] 12. La morte di Samsone [ditto] 23. Requisiten. Die Reste vom Papier, Siegellack, Federkiehl, Spagat. 24. Musickalien: [spätere Schrift:] sind keine vorhanden 1. die 7. Worte. 2. Ouverture von Eybler. 3. Sinfonie von Beethoven in D. 4. Sinf. von detto in Eb. welche H: Beethoven zu leyhen genohmen, und noch bey sich hat. 5. Vier Packete Copialien aus dem Orator: von Beethoven /:Christus am Oelberg:/ vermöge einem Recipisse hat H: Beethoven 171 Bögen von nemlichen Oratorio bey sich. 25. Lederne Tasche zu Transportirung der Soz: Schriften, dann 1 gelbe weiche Kasten. Unterzeichnete bezeugen, alle in diesem Inventario 2. enthaltene der musikal: Soz: gehörige Ackten, Schriften, Schlüsseln etc von bisherigen Secretario P. Wranizky übernohmen zu haben. Wienn d 23ten April [1]807. Paul Wranizky mp als Übergeber. Joseph Scheidl mp / Blasius Milleckner mp / Sebastian Gromann mp als Uibernehmer / Carl Friberth mp Assessor Senior. / Leopold Klempe [different handwriting:] Register über die bey den Societäts Sessionen abgehandelten Gegenstände angefangen von Jahr 1807. 181 Rita Steblin 1817 A 2/2: Sitzungsprotokolle 1801–1830 Sessions Protocoll von 10 Jänner 1817. Sub Præside: Seiner Hochgraflichen Gnaden H. H. Ferdinand Grafen von Kueffstein Sub vice Præside: Herren Hof Kapellmeister Anton Salieri Præsentibus: Herr: Eybler Ø, Weigl Joseph Ø, Kletzinsky Ø, Pössinger, Millnecher, Heneberg, Krommer Ø, Meltzer, Lotter, Rup, Dolezalek, Schönauer Ø, Franz, Umlauff, Maschek Societäts Secretär mp […] 12/ Was wird die Societät in Fasten zu Ihrer academien geben, Ich schlage vor, die 7 Worte, dann Christus am Öhlberg von Bethoven. Die H: H: Mitglieder sollen fest beschliessen. Bleibt dabey. Die H: Sänger werden Eingeladen Frau von Campi Soprano Fraülein von Klieber Salieri K. K. H Kp mp / Vidi Gf Kuefstein mp kk. Hof Musikgraf / Paul Maschek Societäts Secretär mp B 1/8: General-Ausweis der Tonkünstler-Societäts Academien 1817: 30 u 31 März Christus am Öhlberge Orator: v Beethoven Soloparten: Dlle Klieber H: Radichy k. k. Hofop: Sänger H: Pfeiffer k. k. Hofkap: dto vorhero Sinfonie in A dur v Beethoven Zwischen beyden Pieçen am 30ten Polonaise auf d. Flöte gespielt von: H: Alois Khayll [k. k. Hoftheater Mitglied] am 31ten Variationen f. Flöte, Oboe und gespielt von: [ditto], H: Jos: [Khayll], Trompette von Weiß H: Ant: [Khayll] k. k. Hoftheater Mitglieder Empfang brutto: 3196 f 44 x; Ausgabe: 1167 f 20 x; Empfang netto: 2029 f 24 x. Cours 390. 182 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 A 2/2: Sitzungsprotokolle 1801–1830 Sessions Protocoll von 24 April 1817 Sub Præside: Seiner Hochgräflichen Gnaden Hrn Hn Ferdinand Grafen von Kuefstein Sub vice Præside: Herren Hof Kapellmeister Anton Salieri Præsentibus: Herrn: Eybler vice Hof Kapel:, Weigl Joseph, Kletzinsky Ø, Pössinger Ø, Millnecher, , Krommer, Henneberg, Möltzer Ø, Lotter, Rup Ø, Dolezalek, Franz, Schönauer, Umlauff, Maschek Societäts Secretär […] 20/ Herr van Bethoven, hat den Wunsch geäußert, und mir /: dem Secretär :/ mündlich versprochen, ein Oratorium für die Löbl: Societät unentgeldlich zu Componiren, wenn Ihm die Societät ein gutes Buch verschaft. [Conclusum] Die Israeliten in der Wüste […] Wien den 24 April 1817 Ant. Salieri K. K. H. K.M mp / Vidi G v Kuefstein mp K. K. Hof Musikgraf Paul Maschek Societäts Secretär mp 1824 A 2/2: Sitzungsprotokolle 1801–1830 I Session den 18ten März 1824. 11 § Was wird zu den Fasten Akademien gegeben, und wie werden die Solo Parten besetzt? [Conclusum] 11 § Ite Abtheilung gemischt. IIte Christus am Oehlberg. Wien den 18ten März 1824. Joseph Eybler97 k: k: Hofvize Kapellmeister und Gesellschafts Seckretaer. Moriz Graf v Dietrichstein / Mich: Umlauff / Lother / Kletzinsky / Pößinger / Breymann / Ignatz Schuster / Dolezalek / Franz / Frühwald / Krommer 97 All of the following signatures have the manu propria, which I have dispensed with here to save space. 183 Rita Steblin B 1/8: General-Ausweis der Tonkünstler-Societäts Academien 1824. 11. u 12. April Die Jahreszeiten Cantate in 4 Abth: von J. H. Dlle Sontag k. k. Hofopernsängerinn H: Barth dto H: Seipelt Sänger des k. k. priv. Wiedner Th: Empfang brutto: 4205 f 48 x; Ausgabe: 601 f 39 x; Empfang netto: 3604 f 9 x. Cours 250. *** Excerpts involving Joseph Arthofer 1779 B 2/1: Sitzungs-Protokolle 1771–1785 Protokoll. Der Societæts Session ddo 13t Aprilis a: c: [1779] Sub Præside. Hr: Hof=Kapellmeister v: Bonno. […] 13. Arthofer Joseph Copist suchet an, daß ihme Societæt die copiatur bey den Musicalischen Societæts Academien in so lang versichern wolle, als er selbe jedesmall in der bestimmten Zeit, schön, deutlich und leßbar, auch nicht zu weitläuftig, in allermöglichster Richtigkeit, und ohne etwas für sich zu copiren, oder weiter zu veräussern, jeden Bogen p: 5 Xr: überliefern wird. [Conclusum] Fiat nach dem Inhalt seines petiti. 1785 Protocollum Der Societæts Session ddo 9ten April a: c: [1785] Præside. Hr Hof=Kapellmeister v: Bonno. […] 184 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 5. 14 Arthofer Joseph Copist, bittet wegen so vieler ausserordentlicher Bemühung und Gänge bey lezter Fasten Musik,98 wodurch er in seiner Arbeit sehr gehindert worden, um eine Remuneration. [Conclusum] Werden ihme 2 ordina: Ducaten, das ist 8 f: 36 xr: für seine Bemühung zur Schadens Vergütung accordirt. A 2/1: Sitzungsprotokolle 1781–1800 1799 Sessions-Protocoll ddo 4ten Novemb: a. c. [1799] Sub Præside Seiner hochgraf: Gnaden Herrn Grafen von Kuefstein. Vice Præside Herr Hofkapellmeister Salieri. Præsentibus. Herrn Haydn Jos:, Hoffmann Ant:, Kaelbel, Orsler, Albrechtsberger, Pable, Schram, Schindlecker, Actuario Wranizky […] 8. Arthoffer Copist der schon etwelchenmale bey den Soz: Akademien keinen Verdienst hatte, und dennoch bey jeder Probe und Production gegenwärtig seyn muß, die Zeit verlieret, und dabey Mühe hat, suchet an um eine Schadloßhaltung. [Conclusum] Es sind ihme für die bishero gehabte Mühe 12 f: und künftighin für jede Prob und Production, wenn er für die Sozietaet nichts zu copiren hat 2 f: ausgeworfen worden. A 2/2: Sitzungsprotokolle 1801–1830 1803 Sessions Protocolla ddo 6ten May a. c. [1803] […] Actuario: Wranizky [...] 98 The Lenten concerts on 13 and 15 March 1785, as recorded in B 1/8: General-Ausweis der TonkünstlerSocietäts Academien, were “IIte Abtheilung. Eine neue Cantate v Mozart [Davidde penitente], Soloparte [am 13. März]: Dem: Cavalieri, H: Adamberger [am 15. März]: Dem: Cavalieri, Dem: Distler, H: Adamberger.” 185 Rita Steblin Nro 13 Joseph Arthofer Sozietaets=Copist bittet um einen Kreützer für den Bogen Zulage, weil das Papier theüer ist, seine Helfer ihm nicht anders als um 4x schreiben wollen, er also bey dieser Copiatur decisiven Schaden habe. [Conclusum] Ist ihm ein Kreützer für den Bogen auf unbestimmte Zeit gegen deme jedoch zuzulegen, daß die Copialien von H: Hofkapellmeister Salieri durchgesehen, ob sie nicht unnöthigerweise gedehnt sind, so dann von demselben der Conto des Copisten ob er die Zulage verdiene, unterzeichnet wird. Dieser Conto wird zugleich von dem Secretair unterzeichnet, ob die Umstände, und die Theüerung noch immer die nemliche ist. 1807 Sessions Protocoll ddo 30ten May [1807] […] Societ: Secret: Gromann. […] 43. Theresia Arthofer, Wittwe des verstorbenen Sozietäts Copisten Joseph Arthofer, bittet um Unterstützung, indem ihr verstorbener Man seit 1772. alle Oratorien um den geringen Preis pr 5 xr, und auch alle ersten Partes ganz unentgeldlich geschrieben hat; auch sich würde in die Sozietät eingekauft haben, wenn es seine Umstände zugelassen hatten die gewöhnliche Einlage des Sozietäts Fondes bestreitten zu können. [Conclusum] Suspentiert. Session Protocoll ddo 7ten August [1807] 51. Die Bitte der Theresia Arthofer, Wittwe des verstorbenen Sozietäts Copisten Joseph Arthofer, um Unterstützung in ihrem Wittwenstande, in dem Ihr Mann seit 1772. alle Oratorien um den geringen Preis pr 5 xr, und auch alle ersten Partes ganz unentgeldlich geschrieben hat. Blieb in der Session ddo 30ten May d: J: Suspendirt, und zur Entscheidung auf die heutige Session. [Conclusum] Als schaden Ersatz des verstorbenen Societæts Copisten Joseph Arthofer, für seinen geringen Gehalt, und gehabten Versaumnüßen bey denen Accademien; ein für allemal der Bittstellerin 50 f auszubezahlen. *** 186 Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824 Excerpts involving Friedrich Starke A 2/2: Sitzungsprotokolle 1801–1830 1807 Sessions Protocoll ddo 10ten April a.c. [1807] […] Actuario. Wranizky mp99 26. Friedrich Starke Kapellmeister beym Hillerischen Infant: Rgmt, gebohren d 29ten März 1774. bittet zu wiederholten Mahl in die Sozietaet aufgenohmen zu werden. [Conclusum] Abgeschlagen. Der Candidat ist des Soldatenstandes wegen der Aufnahme in diese Sozietaet nicht qualifiziert. 1808 Sessions Protocoll ddo 11ten 9bris [1808] 33. Friedrich Starcke, gewesener Kapellmeister bey dem löbl: K: K: Hillerischen Infanterie Regiment, gebohren den 29ten Merz 1774. zu Elsterwerda. Nachdem er vermög Bescheid von 10ten April d: J: des Soldatenstandes wegen zur Aufnahme nicht geeignet befunden; dieses Hinternüß aber vermög beyliegenden Abschied gehoben ist, so wiederhollet er nochmahlen seine gehorsamste Bitte, um Aufnahme zur Gesellschaft. [Conclusum] Bittsteller hat sich schriftlich auszuweisen, wie, und wo er sich mit seinen Kunstfach ernähret; auch zugleich einen schriftlichen Reverß von sich zu geben, nie im Millitair Dienste zu tretten; bist dahin Suspentirt. 1810 Session Prothocoll ddo 1ten August [1810] 10. Starcke Friedrich gewesener Kapellmeister beym löbl: Hillerischen Infanterie Regiment; gebohren den 29ten März 1774, zu Elsterwerde; wiederhollet die Bitte um 99 This is the last session in which the minutes were written by Paul Wranitzky. The following excerpts from 1808 and 1810 are in the hand of secretary Sebastian Gromann. Those from 1818 were written by his successor, Paul Maschek. 187 Rita Steblin Aufnahme, und leget vermög Session Beschluß ddo 11ten 9bris 1808, den anverlangten Ausweis und Revers bey. [Conclusum] Sobald Bittsteller ausser dem Militair auf eine Bestimte Anstellung in seinem Kunstfache zeugen kann; ist kein Anstand an der Aufnahme. Session Prothocoll ddo 3ten November [1810] 26. Starcke Fridrich, gebohren den 29ten März 1774. wiederhollet vermög Bescheid ddo 1ten August 1810, seine Bitte um Aufnahme, und leget nebst denen nöthigen Documenten sein dermahliges Anstellungs Decret, bey. Der Revers liegt bey den Ackten der heutigen Session. [Conclusum] Bewilliget. 1818 Sessions Protocol den 12 Feb: [1818] 6. Herr Starcke ist den ersten Tag zu der production gar nicht gekommen, er sagte grad heraus, er habe darauf vergessen. [Conclusum] [Nach dem Paragraf 6ten zu behandeln.] 7. Herr Martin Scholl, Kapellmeister bey dem Hoch und Deutschmeister 4ten Linien Infant: Regiment, bittet zum Drittenmahl um Aufnahme in die Löb: Musik: W: und W: Societät, und bringt von Regiments Comander ein Zeugniß das Er unobligat ist, und wenn heute oder Morgen ein Krieg ausbrechen sollte, er nicht bemüßigt ist, mit dem Regiment vor den Feind zu rücken, das er zwar verheirath, aber noch Kinderloß ist, Er hat auch von seinem H: Obristen und Regiments Comendanten die besten anempfellungen, und da einmahl die Löb: Societät den H: Starke, welcher sich noch bis dato als Regements Kapellmeister schreibt, die aufnahme nicht verweigert, so glaubt Herr Scholl, ebenfals diese Begünstigung von der Löb: Societät zu ertheillen, in dem er sich anheischig macht, seine præstanda, nach dem Societ: ausspruch also gleich zu erlegen. [Conclusum] Die Aufnahme ist ihm bewilligt. Gegen dem das er die Statutten mäßige Præstanda samt Zuschuß was die Löbliche Societät ausgemacht hat. 188

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“Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824,” in: Bonner Beethoven-Studien 10 (2012): 139-188.

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