Beethoven’s Conversation Books Beethoven. Oil painting by Ferdinand Georg Waldmüller (1793–1865). Beethoven-Haus Bonn. The composer allowed him one sitting between April 18 and April 26, 1823, but not a second one. See Heft 30, Blätter 54r and 56r–56v; and Heft 32, Blatt 61v. Beethoven’s Conversation Books Volume 3: Nos. 17 to 31 (May 1822 to May 1823) Edited and translated by Theodore Albrecht the boydell press Translation and editorial matter © Theodore Albrecht 2020 A licensed edition of Ludwig van Beethovens Konversationshefte, Bd. 2 and Bd. 3 edited by Karl-Heinz Köhler, Grita Herre and Dagmar Beck © 1976 and 1983 by Deutscher Verlag für Musik Leipzig All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2020 The Boydell Press, Woodbridge ISBN 978 1 78327 152 8 hardback ISBN 978 1 78744 902 2 ePDF The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620–2731, USA website: www.boydellandbrewer.com A catalogue record for this book is available from the British Library This publication is printed on acid-free paper Typeset by BBR, Sheffield This volume is dedicated to the memory of my colleague John Ferritto. Contents General Introduction to the English Edition ix Acknowledgements xxiii Reader’s Guide xxvi Directionality in Vienna (True and Perceived) xxxviii Heft 17. (ca. May 27, 1822 – ca. June 13, 1822) 1 Heft 18. (ca. October 31/November 1, 1822 – November 4, 1822) 19 Heft 19. (January 19, 1823 – January 26, 1823) 39 Heft 20. (January 21, 1823 – January 26, 1823) 59 Heft 21. (January 27, 1823 – January 30, 1823) 73 Heft 22. (January 30, 1823 – February 6, 1823) 83 Heft 23. (ca. February 6/7, 1823 – February 12, 1823) 109 Heft 24. (February 12, 1823 – February 21/22, 1823) 139 Heft 25. (February 22, 1823 – March 2, 1823) 169 Heft 26. (March 4, 1823) 201 Heft 27. (ca. March 20, 1823 – March 26, 1823) 211 Heft 28. (March 31, 1823 – April 8, 1823) 233 Heft 29. (April 11, 1823 – April 17, 1823) 265 Heft 30. (ca. April 20, 1823 – April 26, 1823) 281 Heft 31. (April 27, 1823 – May 4, 1823) 313 viii CONTENTS Appendix: Descriptions of the Conversation Books in Volume 3 339 Bibliography 342 Index of Writers of Conversational Entries 359 Index of Beethoven’s Compositions 361 General Index 367 General Introduction to the English Edition Ludwig van Beethoven (1770–1827) is recognized the world over as one of the greatest composers of all time and is especially known for his musical triumphs in the face of increasing deafness, beginning around 1798.1 In 1801 he confided his early hearing loss to Dr. Franz Wegeler in Bonn and schoolmaster/violinist Carl Amenda in Latvia, friends who had lived in Vienna but were now safely far away.2 By the summer of 1802 others were starting to perceive lapses in his hearing, and his fear and confusion are reflected in the Heiligenstadt Testament in October of that year.3 With more good days than bad, Beethoven’s hearing slowly became weaker, although it had not yet interfered with his performing in public, even with orchestra on the marathon concert of December 22, 1808.4 Between 1812 and 1816 he tried using ear trumpets (made for him by Johann 1 There are many medical accounts of Beethoven’s deafness. Possibly the most complete and objective in English is by the Australian physician Peter J. Davies, Beethoven in Person: His Deafness, Illnesses, and Death (Westport, Conn.: Greenwood Press, 2001), pp. 42–65 and 217–218. 2 On June 29, 1801, Beethoven wrote to Franz Gerhard Wegeler: “For the last three years my hearing has become weaker and weaker.” Two days later, on July 1, he wrote to Amenda: “My most prized possession, my hearing, has greatly deteriorated. While you were still with me, I already felt the symptoms, but I said nothing about them.” Amenda had left Vienna shortly after June 25, 1799. See Emily Anderson, transl. and ed., The Letters of Beethoven, 3 vols. (London: Macmillan, 1961), Nos. 51 and 53; and (for Amenda’s reply) Theodore Albrecht, transl. and ed., Letters to Beethoven and Other Correspondence, 3 vols. (Lincoln: University of Nebraska Press, 1996), No. 31. 3 Ferdinand Ries noted brief lapses while walking with Beethoven in the rural paths around Heiligenstadt, confirmed in the composer’s so-called “Heiligenstadt Testament.” See Franz Gerhard Wegeler and Ferdinand Ries, Beethoven Remembered, transl. Frederick Noonan (Arlington, Va.: Great Ocean Publishers, 1987), pp. 86–87; and Anderson, Vol. 3, Appendix A, pp. 1351–1354 (the Heiligenstadt Testament, actually close to a fair copy, dated October 6 and 10, 1802). 4 Alexander Wheelock Thayer, Thayer’s Life of Beethoven, ed. Elliot Forbes (Princeton: Princeton University Press, 1964/67), pp. 446–449. The breakdown in the performance of the Choral Fantasy, Op. 80, the last item on the program, was probably caused by orchestral fatigue at the tricky transition between the nocturnal Adagio, ma non troppo in 6/8 and the ensuing Marcia, assai vivace in 2/4 (Gesamtausgabe, p. 22).