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The Unheard Beethoven Unrecorded, unpublished, unheard...these shouldn't be words associated with Beethoven.

10/10/2026

BEETHOVEN 200 YEARS AGO TODAY: Tuesday, October 10, 1826

Nephew Karl and Uncle Ludwig are in Gneixendorf at Brother Johann's estate. Ludwig is nearing completion of the string quartet in F major, op.135, but he will need additional paper to write out the parts once the quartet is finished.

Karl is preparing to go into the nearby village of Krems to run errands for his uncle. Karl tells him he needs 2 florins 12 kreutzers. He will get two books of music paper for his uncle at 1 florin 36 kreutzers per book. [Karl has made a math error here; he should have asked for 3 florins 12 kreutzers, and if this is not corrected will find himself a florin short.]

Johann's wife Therese understands about taking in income and spending it, Karl tells Uncle Ludwig. Johann almost never goes to Krems; he doesn't like it there.

Johann tells Ludwig that "In Spring and in Summer, it is daytime here from 9 in the morning until the evening, and the evenings are wondrously beautiful." He also notes that this year's young w**e is mild and sweet, just like the evenings.

Conversation Book 123, 1v. This portion of the conversation book was translated by Prof. Theodore Albrecht.

10/09/2026

BEETHOVEN 200 YEARS AGO TODAY: Monday, October 9, 1826

Dr. Spiker, Court Librarian to the King of Prussia departs Vienna today, taking with him the dedication copy of the Ninth Symphony for the King. The score has been freshly bound through the involvement of Tobias Haslinger, with a dedication page from Beethoven. The Wiener Zeitung of October 12, 1826 (Nr.234), at 998 includes the notice of Dr. Spiker's departure from the city.

Gioacchino Rossini's opera Le siège de Corinthe is premiered today at the Paris Opera, the first work by Rossini to be given its first performance there. Parisian music publisher Leon Escudier describes the reaction thus: "The hall...leaped to its feet as one man at the final notes of the chorus and gave vent to a long shout of admiration." Vienna is not alone in its enthusiasm for Rossini.

10/08/2026

BEETHOVEN 200 YEARS AGO TODAY: Sunday, October 8, 1826 (approximately)

Around now, Beethoven fine tunes the metronome markings for the Ninth Symphony with Nephew Karl's assistance. They had started on the metronomization back in Vienna, on September 27 just before their departure for Gneixendorf. The markings are almost exactly the same, except the last few for the Finale are changed slightly and made clearer. He will put these metronome markings into a letter to Schott's for publication in the next few days.

10/07/2026

BEETHOVEN 200 YEARS AGO TODAY: Saturday, October 7, 1826 (very approximately)

Beethoven and Nephew Karl are still at Brother Johann's estate in Gneixendorf. They are continuing to stay beyond the planned 8 days in order to let Karl's hair grow out to cover his head wound.

Johann is in litigation with his former lessee, Franz Alexander, who had leased the estate from Johann, but misappropriated it. Karl mentions about Johann: "He once said: It makes me want to tear out all my hair. The answer was, that he would finish that very soon." [This joke suggests that Johann was balding already.] Johann adds, writing over another comment by Karl that may have displeased him, "I still have something to claim, and he will not pay."

Conversation Book 123, 1r-1v.

10/06/2026

BEETHOVEN 200 YEARS AGO TODAY: Friday, October 6, 1826

This evening is the culmination of the four-day Birmingham, England Musical Festival. At the theater tonight, led by violinist Christoph Gottfried Kiesewetter (1777-1827), the concert opens with Beethoven's Symphony in C minor (Nr.5). The reporter, "A.B" in the Harmonicon of November 1826 (Nr.XLVII) at 221 writes, "Beethoven's difficult and masterly symphony in C minor was led with great spirit by Kiesewetter, and every individual in the orchestra seemed to exert himself, as if he were determined not to be outdone by his neighbour."

Beethoven's Fifth Symphony is here performed by John Eliot Gardiner conducting the Orchestre Revolutionnaire et Romantique live in 2016:

https://youtu.be/lNtb-ly1I_k?si=rUlbJSCMkgCuZ29h

10/05/2026

BEETHOVEN 200 YEARS AGO TODAY: Thursday, October 5, 1826

Beethoven's Mainz publisher, B. Schott's Sons, writes to Beethoven today. They request a more precise description of the correction to the Ninth Symphony, op.125, which was set out in Beethoven's last letter to them on September 29. In that letter, he noted that the sign for the dal segno was missing at the end of the Maggiore section of the second movement.

Brandenburg Letter 2220. The letter is not known to survive, but its existence and contents can be derived from the September 29 letter (Brandenburg Letter 2215) and Schott's follow-up on November 28, which makes reference to it (Brandenburg Letter 2233). In the November letter, Schott's writes: "We still await your reply regarding our more detailed inquiry concerning the correction to be made for the Symphony (though not clearly enough)."

10/04/2026

BEETHOVEN 200 YEARS AGO TODAY: Wednesday, October 4, 1826

Today's Berliner allgemeine musikalische Zeitung (Nr.40) contains a front page (317) article on the relationship of form to content in modern music; Beethoven is used as an example: "The point in time from which later researchers will date the more recent transformation of musical art cannot be determined in advance. From the standpoint of where we are now, Beethoven presents himself without dispute as the one to whom the discovery of new realms, or at least the blossoming path that leads there, is to be attributed. If we understand this great composer correctly, we describe his artistic achievement as one through which he was the first to open up the Romantic world, in which Mozart's dramatic music moves, to instrumental music as well. While in the former, human activity and drive, awakened by love and passion, form the richly moving foundation upon which Mozart's poetic creations appear, in instrumental music, in accordance with its original meaning, the inexhaustible abundance of natural life is the no less richly formative foundation upon which Beethoven anchored his artistic views."

This same issue of the Berliner AMZ at 323 gives a report on concerts at the Kärntnertor Theater in Vienna in August, 1826. At a concert given by mandolin virtuoso Herr [Pietro] Vimercati, the performances included the Overture to Fidelio by Beethoven.

In Berlin today, a performance of Haydn's Creation is given, with the participation of Beethoven's friend soprano Henriette Sontag, in a church overcrowded with more than 6,000 people. Berliner allgemeine musikalische Zeitung of October 11, 1826 (Nr.41) at 328. Of more interest to the correspondent is the comparison of the Berlin musical public with the Parisian: "The Berlin public has often been accused of coldness and immobility, and of being more willing to open up its ears to criticism than to open its heart to art. However much or however little of this accusation may be true, Miss Sontag transformed everything with regard to herself. From her first appearance, the public was so devoted to her that they no longer read reviews to agree with them, but to collect the praises in them. Later reporters and readers caught every shallow word from Paris and passed it on, not as if they had said something there that had not already been better expressed here."

The editor then launches into a footnote diatribe that France owes everything great in music to Italy and Germany, which especially in the last quarter century have made such enormous progress. By comparison, France "has achieved nothing noteworthy in the theory and criticism of music, and is obviously incapable of understanding the greatest musical achievements of Sebastian Bach, Handel, Beethoven, and even Mozart." Berliner AMZ Nr.41 at 329.

At Birmingham, England, today is the second day of the Grand Musical Festival for the benefit of the General Hospital, under the patronage of the King, George IV, and a long list of distinguished nobles and gentlemen. This morning's performance is a selection of sacred music, commencing with the Overture to Esther, newly arranged for wind instruments, as well as portions of Mozart's Requiem, Haydn's Creation, and concerted pieces from Handel, Beethoven and others, interspersed with favorite airs by the principal singers. The Harmonicon for September, 1826 (Nr.XLV) at 186. The piece by Beethoven is "Glory to God," the English language version of the Gloria from the Mass in C, op.86, in the second part of the program at St. Philip's Church. This Gloria is incorporated into a musical drama, Joseph (1807), with music by Étienne Méhul (1763-1817). The Harmonicon for November, 1826 (Nr.XLVII) at 219.

10/03/2026

BEETHOVEN 200 YEARS AGO TODAY: Tuesday, October 3, 1826 (very approximately)

Conversation Book 123 begins to be used sometime in the first half of October. This is a thin volume with only 15 leaves, but all of them contain writing. Schindler has correctly identified it as belonging to "+ Fall 1826 in Gneixendorf on Johann van Beethoven's estate." A note by Thayer places it in October, though it extends into early November as well. There are few guideposts to the chronology, so the precise dates of most entries in October and November of 1826 cannot be established other than in relation to one another. We have therefore distributed the material over the months of October and November, while keeping together conversations that are clearly related.

The book opens with a word probably written in by Brother Johann, which is heavily erased and not legible. Karl notes that Johann attends lectures on economics. Tomorrow Johann will need to spend the whole day in the field.

Karl writes several calligraphic exercises in both pencil and ink on the first page of the conversation book: "Nom", "Nonus", "Pull", "Pummus", "Holl", "Holland", and four capital Ns separated by hyphens. See attached detail of the page, enhanced for legibility.

Conversation Book 123, 1r.

Michael Kren, the son of Johann's w**e cellar supervisor, acts as Ludwig's personal servant. Friedrich Kerst, Die Erinnerungen an Beethoven, vol.II, at 199-201, contains several recollections related to Kren. The subsequent owner of the estate, Friedrich von Kleyle, was tasked with collecting all the reminiscences of Beethoven's stay in Gneixendorf. Kleyle's letter, which is dated Kirchberg, January 25, 1862, reports as follows:

"Michael Kren was a servant to the composer. I had him summoned, and he stated the following: Beethoven was in Gneixendorf in 1826, namely for three months, from the harvest until after the grape harvest, he believes August, September, October. Michael Kren was taken in by Johann Beethoven's wife to serve the composer. For the first few days, the cook made Beethoven's bed. Once, Beethoven sat at his table, gesturing with his hands, tapping his feet, and singing or humming along. The cook laughed at this. Beethoven happened to glance back at her, and when he saw her laughing, he chased her out of the room. Michael ran out with her. Beethoven called him back, told him not to be afraid, gave him three twenties [kreutzers] and said that from now on he had to make his bed and tidy up. Michael had to get up early, but usually had to knock for a long time before Beethoven opened the door. Around 5:30, Beethoven would usually get up, look at his table, tap out the beat with his hands and feet, and write while singing and humming. At first, when he felt like laughing at this, Michael would sneak out the door, but gradually he got used to it. At 7:30, they had breakfast together. After the same, Beethoven always hurried outdoors, strolled around in the fields, shouted, gestured with his hands, sometimes walking very slowly, then very quickly, or suddenly stopping and writing in a kind of notebook."

"Once, when he came home, he noticed that he had lost something. 'Michael,' he said, 'run and find my writings. I must have them back at any cost.' And indeed, they were found. At half past twelve he usually came home for dinner. From the table he went to his room and remained there until three o'clock, and then he ran around in the fields again until before sunset, for after that, he almost never went out again. By half past seven, it was nighttime, and then he went to his room, wrote until ten o'clock, and then went to bed. Sometimes Beethoven also played the piano, but it was not in his bedroom, rather in the hall. Beethoven's living room and bedroom, which no one but Michael was allowed to enter, was the corner room facing the garden and courtyard, where the billiard room is currently located."

"During the time when Beethoven went out for his morning walks, Michael had to tidy the room. There, several times he found money lying on the floor. When he gave it back to Beethoven, he asked him where he had found it. Michael then had to show him the place where he had found it, whereupon the man gave it to him as a gift. This happened three or four times, but then Michael could no longer find any money. In the evenings, Michael always had to sit next to Beethoven and write down the answers to the questions Beethoven asked him. He was mostly questioned about what had been said about him at lunch and dinner. One day, the landowner's wife [Therese] sent Michael to Stein with 5 florins to buy w**e and a fish. Michael was careless, lost the money, and returned to Gneixendorf after twelve o'clock, quite distraught. The landowner's wife immediately asked him where the fish was, and when he told her about the loss of the money, she sent him away. Ludwig Beethoven, when he came to the table, asked where Michael had been. When Johann's wife told him about the incident, he was very angry, gave her the 5 florins and ran to get Michael back. From that time on, he no longer went to his brother for breakfast, but had Michael make it for him. He never spoke to his sister-in-law, but quite often with his brother. No one was allowed to come into his room but Michael."

"He also always went out alone, never with his sister-in-law or his brother....If someone took off their cap in front of Beethoven and asked for something by gesture, he gave them something, but otherwise he paid no attention to anyone he met, hardly even returning a greeting.... People, especially at first, thought him a fool!"

10/02/2026

BEETHOVEN 200 YEARS AGO TODAY: Monday, October 2, 1826

Ludwig and Nephew Karl are in Gneixendorf, staying at Brother Johann's estate, Schloss Wasserhof. Early in the morning, while Ludwig is working on the quartet op.135, Karl notes that Johann has become a satirist; he is correcting his servants using wordplay. Wanting to write some letters, Ludwig asks Karl what the date is. Karl answers, "Today is the 2nd of October."

Ludwig also would like to go into the nearby town of Krems to do his shopping. Karl tells him that the servants can't take him right away; they are busy with breakfast. Someone [possibly Johann, or the young servant Michael Kren] has been waiting half an hour for Ludwig. Everyone is working the whole day.

Karl tells his uncle the letters must be written right away; the letter carrier will come soon. [Johann has said the letter carrier comes at 9 a.m. on Mondays, Wednesdays, and Fridays.] Ludwig dictates a letter to Tobias Haslinger, and another letter as an enclosure. The letter to Haslinger opens with the musical greeting "Bester Tobias," WoO 205i, which can be heard here worked out by Willem Holsbergen as a canon:

https://unheardbeethoven.org/mp3s/WoO205i.mp3

Beethoven continues: "There is no time today for the remaining consonanting and vocalizations. I only ask you to deliver the enclosed letter immediately."

"You will surely forgive me for bothering you, but since you are the proprietor of an art post office, it is naturally impossible but to do otherwise than make use of it."

"You can see that I am here in Gneixendorf. The name bears some resemblance to a breaking axe. The air is healthy. As for other matters, one must Memento mori."

"Most astonishing, first of all Tobiasses, in the grace of the art and the post office, we commend ourselves, Beethoven."

Brandenburg Letter 2219; Anderson Letter 1534. The whereabouts of the original are unknown. The text is derived from Ludwig Nohl's edition of Beethoven's letters, vol.I Nr.383. According to Nohl, who had the original, only the notes at the top of the letter and the closing "we recommend ourselves" were by Beethoven; the balance is by Nephew Karl. What the enclosure was is unknown; no other letters with today's date survive, but it must have been directed to a recipient in Vienna. Beethoven's jocular reference to Haslinger's music shop as a post office is referring to the fact that it, and the Steiner shop before it, were known as the place to send Beethoven's mail.

Karl says he has to go down to the cellar for a bit and retrieve some w**e; otherwise they will have nothing to drink. [Today is Johann's 50th birthday, so some w**e will be needed.]

One of the servants is going to Krems; he can take care of Uncle Ludwig's shopping. He is Michael Kren, the son of the supervisor of Johann's w**e cellar, and he understands shopping well. Kren asks whether the letters have already gone, or whether he is to take them to Krems. He can generally be available to Ludwig by 7 or 8 a.m.

Ludwig gives Karl 6 florins, and Karl goes with the baker's son to Krems. They return later today, and Karl notifies his uncle that they weren't able to get ink. That will come tomorrow because they couldn't get a container for it. Karl reports the list of their purchases:
Wax candles, 1/2 pound 1 florin 42 kreutzers
Cotton 6
Soap powder 30
Pencils, 3 each 8 kr. 24
Erasers are not available, except for penknives with multiple blades.
Writing paper, 1 book [24 sheets] 27
Blotting paper, ditto 12
Ear picks [curettes] 6
And since the Hungarian to***co is here, but in all of Gneixendorf there was not a pipe to be found, I brought one with me from Krems.
With all the accessories, it cost 1 fl. 21
Tooth powder, one box 24
Total 5 fl. 12 kr.
Received: 6 fl.
Remaining: 48 kr.

Conversation Book 122, 27v-29r. This concludes Conversation Book 122. Conversation Book 123 probably begins being used shortly thereafter. However, the next clearly datable entry does not occur until shortly before October 30, since we lack the usual assistance of advertisements copied out of newspapers. The entries will thus be more sporadic and uncertain in date over the next two months while Ludwig and Karl are in Gneixendorf.

The October, 1826 issue of The Harmonicon (Nr.XLVI) contains at 197-198 a review of Carl Czerny's Variations on a Theme of Beethoven, op.55, published by Clementi & Co. in Cheapside. "The beautiful canzonet of Beethoven, Das Glück der Freundschaft [op.88], chosen by M. Czerny, is exceedingly flowing and melodious, and he has given it first in the composer's own notes; indeed of the six variations which he has written on it, five, though sufficiently difficult, are very practicable, rational, and pleasing; but in the sixth, he has indulged his natural propensity for rapid, sweeping passages, for mingled fingers, wide extensions, and long leaps. A great portion, however, of the latter may be curtailed—a practice which, in such cases, the adroit will often have recourse to—and the remainder will be worth possessing. But as an exercise, even the last variation may be rendered useful."

At 204-205, this issue of The Harmonicon also includes the following in its report of music in the City of Vienna: "A new grand Quatuor from the pen of the inexhaustible Beethoven has just appeared here. It is entitled Grand Quatuor pour deux Violons, Alto et Violoncelle, compose et dedié à son Altesse Monseigneur le Prince de Galitzin, par Louis Beethoven, Op.127. It may be justly said of this composer, that though Haydn and Mozart had appeared to have fixed the limits of this species of composition, he has extended them. The energies of his ever-active mind led him to create new forms, of which, bold as some of them are, criticism has recognized the claim, and received them into her canon; though many, it is true, must be content to rank there as splendid exceptions to general rules. Beethoven's manner is equally singular. Without any apparent plan, without any determinate connexion between the parts with a view to a perfect whole, his works are marked with the impress of inspiration; the most abrupt and singular transitions, effects the most extraordinary, and passages of the greatest sublimity ranged by the side of those of the most opposite character, frequently recall to our minds the well-known remark of Napoleon relative to the sublime and the ridiculous. In the composition before us, what more divine than the cantabile movement, so full of tender and pastoral feeling, but how strangely contrasted with the scherzando vivace which immediately follows!"

"Beethoven has manifested powers of the first order in other species of composition, but it will not be denied that his symphonies form the real culmination-point of his genius. They are thus beautifully characterized by Reichardt, a German critic of eminence. 'The symphonies of Haydn may be compared to a beautiful and elegant villa, in and around which everything is in harmony, everything pleasing and lovely; those of Mozart are like a magnificent palace, the splendor and riches of which excite your highest admiration; but the gigantic compositions of this kind from the pen of Beethoven resemble some aerial and cloud-capped tower, which strikes you with awe, wonder, and amazement.'"

The musical supplement to this issue of The Harmonicon includes an arrangement of the March from Egmont, op.84/5, for Piano-forte by an anonymous hand (not Beethoven), at pages 204-206.

In Paris, Hector Berlioz today enrolls in the course in counterpoint and fugue taught by Anton Reicha at the Conservatoire.

BEETHOVEN 200 YEARS AGO TODAY: Sunday, October 1, 1826Ludwig and Karl are at Brother Johann's estate in Gneixendorf. The...
10/01/2026

BEETHOVEN 200 YEARS AGO TODAY: Sunday, October 1, 1826

Ludwig and Karl are at Brother Johann's estate in Gneixendorf. There is some confusion about breakfast and when it is available. [Beethoven appears to have forgotten to wind his watch, which may be related.] Karl reminds Ludwig to wind up his watch.

Ludwig asks where the servant is. Karl tells him she is in the farmyard, feeding the chickens.
Ludwig is not pleased with the hours for breakfast. Karl tells him, "You can have breakfast at any hour. She [Therese or the housekeeper] thought that you didn't want it before 8 o'clock."

A shopping trip has to be made, but since today is Sunday it will need to be put off till tomorrow. Ludwig finds Johann in his office. Johann says that in the afternoon he will show Ludwig his hillside vineyards that are in a particularly beautiful area. Ludwig asks where the maid is. Johann offers one of the village boys to Ludwig as a servant. He can have a clever fellow. [This servant is Michael Kren, whose father oversees Johann's w**ery.]

Karl makes a number of calligraphic doodles on leaf 25v of the conversation book, something he had not done for some months before his su***de attempt.

Later in the day, Johann leads the tour to the furthest area under cultivation. As they are about to go out into the fields, Johann tells them that "Everything that one sees here belongs to the estate." Johann points out the sundial in front of Ludwig's room. [A picture of the sundial is nearby. The windows of Ludwig's room at the Schloss are the two to the left of the sundial.] Johann acknowledges that he seldom closes the window shutters, so they don't work very well.

Johann says he will have fewer irritations if he operates the land himself. The buildings will also be better taken care of, because the lessees allow everything to fall to ruin.

Johann plans to take them later this afternoon to Imbach, which lies in a beautiful region. There are also some historical monuments to be seen. [Imbach is about 2 miles west of Gneixendorf and 2 miles northwest of Krems. Among the sights are a ruined castle and a Gothic convent church. Ludwig will later write that the area reminds him of the Rhineland of his youth.]

After the tour of the estate is completed, they return to Schloss Wasserhof for dinner. Ludwig asks about the mail service, and is told that it comes Monday, Wednesday and Friday at 9 a.m. The Krampensteiner w**e they are drinking gives one an appetite.

The dinner conversation is heavily focused on the business of music. Prince Nikolai Galitzin, who still owes Ludwig money for the late quartets, is in Moscow and will need to return to St. Petersburg soon. Count Rasoumovsky pays well. Ignaz Schuppanzigh will begin quartet performances at the usual place again soon. Johann will try to get some copies of the Morgenblatt [published in Stuttgart but widely circulated in Austria].

Johann points out that everything is made with the freshest butter. "The w**e is so healthy that everyone who drinks it for 60 or 70 years will live to become old," he jokes. When his wife Therese is absent, Johann says he lives on 30 kreutzers per day, for one pound of meat, soup and vegetables, and 1 measure of w**e. Ludwig says Johann never ate much when he was younger. Johann agrees but now he has more of an appetite. And since he has married, he looks neater.

They then travel to Imbach on the Krems River. Johann tells him, "This is the convent where Margarethe, Ottokar's wife, died. The scene is portrayed in Grillparzer's play." He suggests they have a drink at an inn, and then head back home. Johann feels like the landscape there is much like the Helenenthal near Baden. [The Helenenthal was where Karl shot himself; whether Johann knew this when he makes the comment is unclear.]

Conversation Book 122, 25r-27v.

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