A LTHOUGH on appearing for the first time as the Editor of a literary publication, my feelings may be somewhat like those of a child putting on a new dress, yet I feel the responsibility of my position far more than its novelty; for the subject of my first essay is one not to be approached by me, at least, without seriousness and reverence. That the amount, however, of this editorial responsibility may be thought neither greater nor less than it really is, I must beg leave to state my precise sh

D URING the painful illness of full four months which terminated in the death of Ludwig van Beethoven, he was one day conversing with Hofrath von Breuning and myself on the subject of Plutarch's Lives. Breuning took advantage of the long-wished-for opportunity to ask Beethoven, apparently without any particular object, which of his contemporaries he should prefer for his biographer. Without the least hesitation, he replied, "Rochlitz, if he should survive me." He went on to say that it might be

Beethoven's Parentage—Contradiction of a Report on that subject—His Musical Education—Tale of a Spider—Appointed Organist to the Chapel of the Elector of Cologne—Patronised by Count von Waldstein—Clever Trick played by him—His first Musical Productions—Haydn—Sterkel—Beethoven's Aversion to give Lessons—Youthful Friendships—He is sent to Vienna to improve himself under Haydn—Acquaintances made by him there—Dr. van Swieten—Prince and Princess Lichnowsky—Envy excited by his success—His Indifference

General View of the Second Period of Beethoven's Life—Composition of his "Christ on the Mount of Olives" and "Fidelio"—His brothers, Carl and Johann; their mischievous influence—His severe Illness—Remarkable Will addressed to them—His "Sinfonia Eroica," in honour of Napoleon—Count Moritz von Lichnowsky—Opera of "Fidelio"—Beethoven's Neglect of Vocal Performers—Their Intrigues and Cabals—His Passion for Julia—Letters to her—Disappointed Love—Countess Marie Erdödy—Beethoven as Director of the Orch

"Most respected Sir, "With great pleasure I seize the opportunity of approaching you in writing. In spirit I do so very often, as I prize your works above all others of the theatrical class. The professional world, however, has to lament that, for a long time past, in our Germany at least, no new theatrical work of yours has made its appearance. Highly as your other works are estimated by competent judges, still it is a real loss to the art not to possess any new production of your genius for th

Vindication of the Court of Austria from the charge of neglecting Beethoven—His quarrel with a Publisher at Vienna—Mortification arising from his Deafness—Wretched Lodging—Beethoven undertakes to write a new Opera, but is deterred by the prospect of coming in contact with German Singers—His ninth Symphony—Letter from the Archduke Rudolph—Italian Opera at Vienna—Flattering Memorial addressed to Beethoven—Concerts—His discourtesy to Vocal Performers—His credulity and hasty condemnation of his Frie

Letters from Beethoven to Kappellmeister Hofmeister and C. F. Peters, Music Publishers, relative to the Sale of some of his Compositions. [69] T HE many attacks which have recently been made on the copyright of works by L. van Beethoven, which are my property, induce me to give a list of the compositions purchased from that author, which are the legitimate property of my house; namely:— Respecting the works Op. 20 and 21, which have lately been invaded without my consent, by arrangements by othe

Oratorio contemplated by Beethoven—The German and Italian Opera at Vienna—Memorial addressed to Beethoven—Results of his Concert at the Hof-Theater—Mademoiselles Sontag and Ungher—Beethoven's distrustful Disposition—Invited to visit England—Proposition from the Philharmonic Society—His Arrangements with a Russian Prince—His Residence near Schönbrunn—His Illness—He disposes of some of his Works—His adopted Nephew—Extracts from Beethoven's Letters to him—Beethoven's Physicians—His Sufferings—He wr

Intended Edition of Beethoven's Piano-forte Sonatas—Causes for his relinquishing the design—Project of an Edition of his complete Works—Visionary hopes excited by it—Metamorphosis of Beethoven's Instrumental Music—Importance of a right conception of the Tempo —Metronomic Signs—Injury done to Beethoven's Music by metronomising—Exemplified in the Moonlight Sonata—Metronomic directions condemned—Performance of Beethoven's Works in Paris—Hints furnished by Beethoven relative to the composition of hi

Beethoven's Religious Principles—His Dislike of giving Lessons—His Frankness, and, at the same time, Dexterity in evading Questions—Vindication of him from the charge of Discourtesy to Brother Artists—Proofs that though a rigid, he was a just Critic—Kind Encouragement afforded by him to Professional Merit—His modest Appreciation of Himself—His Extempore Playing—His Every-day Occupations—Propensity for Dabbling in Water—Pension—Certificates—Beethoven erroneously compared with Jean Paul Richter—Mo

Charming Eleonora—my dearest friend, A year has elapsed since my stay in this capital, and this is the first letter you receive from me; yet rest assured you have ever lived in my recollection. I have often conversed with you and yours, although not with that peace of mind which I could have desired, for the late wretched altercation was hovering before me, showing me my own despicable conduct. But so it was; and what would I not give, could I obliterate from the page of my life this past action