Part 11 (1/2)

”Leonora” No. 2 was condemned on account of the predominance of the wind instruments, and No. 3 ultimately, because the stringed instruments had so much to do that precision was out of the question.

When, at length, the composer was satisfied with his creation; when the singers (pacified by the friendly intervention of Seyfried) had agreed to give the music as it was written; when all difficulties were apparently overcome, the unlucky composer's annoyances reached a climax in the reception accorded to his work by the public.

With great want of judgment (purposely to annoy him, as Beethoven thought) the opera was produced a few days after the French troops had entered Vienna; when all his friends and patrons, including Lichnowski, had sought refuge at their country seats till the storm had blown over; and the theatre was filled with French officers and soldiers, an audience utterly incapable of appreciating the master. As might have been antic.i.p.ated, the work was coldly received, and, after three representations, withdrawn. In 1806 it met with the same fate, and not till 1814 did this, the grandest work of the German school--a work which has fought its way to every stage in Europe, and has been brought home to every heart by a Malibran, a Schroder-Devrient, or a Tietjens,--obtain a favourable hearing.

During the time the opera was in progress, Beethoven (like Mozart in producing his ”Seraglio”) suffered keenly from the jealousy of some of his opponents, and his brothers took care that every barb should find its way home to his sensitive mind. Even his friend Stephan Breuning, in his great desire to help the composer, aggravated the evil by the very warmth of his partisans.h.i.+p,--and thus, by constant dwelling upon them, many little slights a.s.sumed a disproportionate magnitude, and annoyed our poor Beethoven intensely.

But enough of darkness and despondency; life now begins, by one of those sudden and apparently inexplicable changes, to wear a rosier hue for the composer. Reserving our inquiry into the cause of this, we close this chapter with the beautiful letter to the poet Matthison, whose ”Adelade” he had set to music some time previously.

”MOST ESTEEMED FRIEND,--You will receive, together with this, a composition of mine which has already been printed for several years, but of which, to my shame, you perhaps know nothing yet.

”I may, perhaps, be able to excuse myself, and to explain why I dedicated anything to you, which came so warmly from my heart, and yet did not make you acquainted with it,--by the plea that, at first, I did not know where you resided, and then my diffidence led me to think that I had been somewhat hasty in dedicating anything to you without knowing if it had your approval. And, indeed, even now I send you the 'Adelade' with some timidity. You yourself know what changes a few years produce in an artist who is constantly progressing; the more one accomplishes in art, the less is one satisfied with former works.

”My most fervent wish will be realized if you are not altogether dissatisfied with the music to your heavenly 'Adelade,' and if you are incited by it to compose a similar poem soon, and (should my request not seem too bold) to send it to me forthwith, when I shall put forth all my strength to approach your lovely poetry in merit.

”Consider the dedication as a mark of my esteem and grat.i.tude for the exquisite pleasure which your poetry has always afforded, and will still afford me.

”When playing the 'Adelade,' remember sometimes

”Your sincere admirer,

”BEETHOVEN.”

FOOTNOTES:

[Footnote 16: Surgeon-in-Chief to the army.]

[Footnote 17: Eleanore von Breuning.]

[Footnote 18: Stephan von Breuning.]

[Footnote 19: Probably in the house of Baron Pasqualati.]

[Footnote 20: A painting by Fuger, Director of the Vienna Academy.]

[Footnote 21: Christoph Breuning.]

[Footnote 22: Madame von Breuning.]

[Footnote 23: Franz Ries, the violinist.]

[Footnote 24: Ferdinand, afterwards Beethoven's pupil.]

[Footnote 25: Professor of Medicine at the Academie Josephine, and author of several works.]

[Footnote 26: Undoubtedly the Countess Julia Guicciardi.]